




* o 








y" 




V"*+ 












*<*.£&-% '°^.°- +**£fc;\ <?* 




' o*' 



v .;•.:- *<5. 4,0* .j^L'» ^ v" ••• 








v- ^ ..... v /^ * 




8 *' «£• ° 



- W *^MM\ ^P :£*&** *u* v .•■ 



6 ^k . 






* o5 *k . 









t*o« 






w ^^ «\ 



* 






:•• ^ v 









^ 






SW* «/\ •M' ** v \ W: -?V : .^f : 



j? 












V ***** <\, «aV 



•• <?*++ V 






^o< ^ 









O > .i 



r o. 






^°* 



°o 






^.^ 













\.^ .• 




/ 



Delsarte 



Outlines 



Copyright, 1890, 

by 

E. M. Booth. 



OUTLINES 



OF THE 



©elgapte * (iygten? 



OF 



EXP$ESSIO|4, 

JLRItAJSrOFD FOR TJSF OF CLASSES 



BY E. M. BOOTH. 



THIRD EDITION.- 



.ttKff* 




IOWA CITY, IOWA: 
Republican Company, Printers and Binders. 

1890. 



PREFACE. 



While these outlines are not claimed to be authoritative 
respecting the S}'stem of expression taught by Francois Del- 
sarte, most of the charts, I have reason to believe, are those 
which he himself used. 

They represent, in substance, the form of instruction 
received from one of the Delsarte pupils several years ago, 
together with such modifications and explanations as I have 
been able to secure since. 

My apology for printing them, if any is needed, is that I 
know of no brief outline which can be used in classes as a 
study of expression under those forms which bear the name 
of Delsarte. 

I acknowledge my indebtedness to the publications of 
Edgar S. Werner for many valuable explanations of the 
principles and charts which I already possessed. 

E. M. Booth. 

Iowa City, Iowa, August 21, 1884. 

In offering this third edition of the Outlines to classes I 
have brought all the charts under the same form and added 
illustrative sentences for many of them. This I hope will 
tend to fix their meaning the more readily, as well as to 
furnish further material for practice. 

I have tried, by giving the explanatory matter upon 
voice another form, to more thoroughly unify the study of 
voice and action and have added some forms and extracts 
for vocal work. I think all students of the Delsarte ideas 
will find helpful suggestions in what 1 have added upon the 
subject of the hand. 

E. M. Booth. 

Iowa City, August 7th, 1890. 



Aesthetic Gymnastics. 



" Animals and plants have two forms of existence, 
manifest and potential." 

" The end of being is action." — Goethe. 
" The form of an object is the result of the forces that 
produced it." — Warner. 

"What an organism is depends upon what it does; its 
activities make it." — Prof. Dru?nmond. 

" The use of an organism determines its form." 

" Fluency and wealth of expression is in exact propor- 
tion to the number of articulations employed." — Deharte. 

These sentences show the philosophic basis of all arti- 
culative gymnastics, whether such gymnastics be applied to 
the joints of speech or to the joints of the speaker. If the 
human organism is to be responsive to all the activities 
which possess it, then must joint and muscle be made free 
by exercise. By habit they become composed to a fixed 
order either helpful or harmful, and to establish ease and 
composure in any other order they must first be decompos- 
ed by the relaxation of muscle and joint. Hence the need 
of decomposing exercises and the practice of various forms 
of gymnastics which shall give flexibility, tension and poise 
to the organism. 

DECOMPOSING. 
The aesthetic significance of posing or of decomposing 
different members of the organism lies in the effect of com- 
posure or want of composure which they produce. A re- 



4 

laxed member shows that the will is not operative at that 
point. The decomposure is a de a. from, a subtraction from 
composure. Hence decomposure of organic members may 
signify either a discomposure of spirit proportionate to the 
extent of the decomposure or it may signify that the will 
has not yet reached the completed composition of its pur- 
pose in the adjustment of the organism. 

The method of practicing the decomposing exercises is 
by force of will to withdraw the nervous energy from any 
given section of the organism and then to agitate the relax- 
ed section by the exercise of energy in the adjoining sec- 
tions. 

This may be applied to ringers, hand, forearm, whole 
arm, head, torso, foDt, lower leg, entire leg, eyelids, lower 
jaw. 

COMPOSING OR POSING. 

Harmony is the result of contrast. Harmonic poise of 
body results from a balance or contrast of its organic parts. 
This is produced by putting in opposition, that is by inclin- 
ing alternately in opposite directions, the three grand divi- 
sions of the organism, the head, the torso and the legs. 
Many people have an habitual bearing of the head over one 
shoulder which leaves the figure in an awkward attitude 
when the weight of the body is borne upon the leg of the 
opposite side. In harmonic poise the head always leans 
over the foot that bears the weight, and whenever the cen- 
ter of gravity changes at the hips, the head sways in bal- 
ance from one side to the other. This it should do gradu- 
ally, however, keeping in exact balance with the progress 
of motion at the hips. 

Practice posing in each of the chart attitudes of feet and 
legs, preserving the harmonic balance in passing from one 



attitude to another and beginning the change at the hips. 
Practice exploding force at wrists in sinking wrist move- 
ment. 

Practice impelling force at elbows in spiral movement. 

Practice sustaining force in upper arm in sei'fientine and 
commanding movements. 

Throw shoulders upward, forward and backward with 
arms relaxed. Stand upon toes rising and falling slowly. 
Bow in attitudes 2, 4, 5 of feet and legs. Retiring step to 
right and left. Gladiatorial opposition of arms and legs. 

E*pi?essh/e flatUPe of ]VTan. 



( Essence. 
Man is both an \ Organism. 

( Appearance. 

( Essence — Psychologic, Causative. 
He is in I Organism — Physiologic, Mediumistic. 

( Appearance — Physiognomic, Manifestive. 



( Mental, Guiding. 



His Psychologic Nature is <j Moral, Impelling. 

Vital, Sustaining. 



His Physiologic 
Nature is 



Nervous, medium of interior guiding. 
Vascular, medium of interior impelling. 
Visceral, medium of interior sustaining. 
Skin, medium of exterior guiding. 
Muscles, medium of exterior impelling. 
Bones, medium of exterior sustaining. 



tt -r> ( Head, manifestive guider. 

His Physiognomic ) ™ . r '• v „ 

Nature is ) TorSO ' manl f estlve impeller. 

/ Limbs, manifestive sustainers. 



Expressive ]Matut*e of ]VTan, 



' One of the most acute metaphysicians of our time 
defines the nature of a thing to be " that law or principle 
which determines the form or character of its activity. The 
nature of any particular being is the law of its activity, and 
we determine what this nature is in each case by what the 
thing does." 

According to this definition the nature of man would be 
the law of his activity, and this law must be determined by 
what man does. 

Now every man does the following three things. Every 
one feels, thinks, and chooses. Every man's nature or law 
of activity, therefore, comprehends these three modes or 
states of activity. The first mode, by which he receives 
sensations and originates motion, is known as the vital 
state, the second mode, by which he perceives and thinks, 
as the mental state, and the third mode, by which he 
chooses and determines, as the moral state. Each of these 
states is a mode of the being's activity, while the being 
itself is the originating power of activity, including both an 
active principle, an organizing substance and a manifesting 
form. 

In discussing this ontological basis of expressive man, 
Steele Mackaye, who is, perhaps, the most authoritative ex- 
ponent of the Delsarte ideas, uses the following illustration. 
" I put my finger into the fire and I feel the effect. The 
effect produced is one of sensation. Now the thought I 
have regarding that feeling is quite distinct from the sensa- 
tion. If I am an imbecile, an idiot, and lacking in the intel- 



lectual quality, I will put my finger into the fire, and the 
necessary result of the stupid act in life is an indication of 
a lack of intelligence. 

The intelligence considers why I suffer and seeks to dis- 
cover the cause which produces the effect. All that my 
sensitive principle does is to report the effect; but my 
mental principle analyzes and explains that report and thus 
develops my intelligence. Having discovered that the fire 
which burns my finger is the cause, I keep my finger out of 
the fire; but after a while I discover that this same fire that 
burns my finger, and consequently is capable of causing me 
suffering, is capable of causing me great comfort. So that 
when my intelligence discovers to me through the fire as a 
natural cause that pain goes but a short distance, and believ- 
ing that the fire is the cause of my pain, I go away from it, 
and if it is a very cold day I find that I made a mistake, 
that I must go back to the fire ; and then I discover that the 
fire is not the cause of my pain, that it is my own stupidity, 
that fire may cause me comfort as well as pain, that I 
am the responsible person, that I am the responsible 
cause of the effect, and I have passed then from the 
domain of natural philosophy, to the domain of moral 
philosophy, and I begin to realize that my own motion 
is the cause of my own emotion ; and from that time I begin 
to act as a rational moral being, governing by my own will 
my exact relations with that fire. Now that act of govern- 
ment is a distinctly moral or motive act. That act of in- 
telligence by which I discover the relation of my hand to 
that fire is a distinctly mental act, whereas the report which 
produces the pain is a distinctly vital act." 

The whole of the Delsarte system of expression is 
based upon the observed action and interaction of these 



three principles of being in the human organism. Such 
observations show that the function and power of these 
three principles are diverse, and that while one furnishes the 
guiding power of activity, and another the impelling, and 
the third the sustaining, all three furnish the one power by 
which man "lives and moves and has his being;" so that 
though one is consciousness and possessive action, man is 
triune in essence, triune in organism, triune in appearance. 

STATES OF BEING. 

Whether psychologists base their systems upon the 
" resident forces " in matter alone or upon matter and spirit 
as the " two poles of existence," all are forced to adopt this 
triune division in explaining the powers and faculties by 
which man manifests his being. In whatever way emotion, 
thought, sensation are accounted for, practically all recog- 
nize this triune essence of mind, soul and life in man, by 
the use of the following groups of words : 

Thought, Intellect, Reflection, Mental, Intellectual, 
Inclination, Will, Affection, Moral, Moral, 

Feeling, Sensibility, Sensation, Vital, Physical. 

RELATION OF THE STATES TO MOTION. 

As water in its three states, liquid, solid and vaporous, 
manifests the nature of its being by spreading out, by con- 
tracting or by expanding, so man manifests the three states 
of his being by three corresponding forms of motion. 

The spreading out or equilibrating form of motion is call- 
ed normal or concentric, the contracting form, accentric and 
the expanding form, excentric. ( 

States of an affective order, that is states of being where 



will is active, excite motion with or about a centre ; in other 
words moral states pose the body and produce concentric 
or normal motion in the organism. 

States of a reflective order excite motions to a center. 
As thought deepens, the tendency is to contract the organ- 
ism and render motion in the body accentric. 

States of a vital or sensitive order excite motions from a 
center. The tendency of feeling as it becomes exalted is 
to expand the organism and extend the gesture. 

In general terms, the states of being are related to 
motion as follows: The moral impels, the mental guides, 
the vital sustains. 

The one grand law, therefore, by which man manifests, 
is this : The moral, the mental and the vital states of man 
are rendered respectively, by the concentric, the accentric 
and the excentric form of the organism. Each form of the 
organism becomes triple by associating with it the other two 
forms. 

i In the discovery and application of this law lies the dis- 
tinctive honor of Francois Delsarte, and any rule of expres- 
sion which cannot be brought to harmonize with it, may 
fairly be challenged as not in the line of his teaching. 



10 



GENERAL CHART 

OF 

Being: and ZDoingf. 



Being — -Power of action. 

Action — Mode of doing. 



SPECIES. 







M-ento. 

Accentro. 


Moro. 
Norino. 


Vito. 
Excentro. 




Mental. 
Accentrie. 


Being. 
Mento-Mental. 

5 

Action. 
Accentro- Accentrie 


Being. 
More-Mental. 

4 

Action. 
Normo- Accentrie. 


Being. 
Vitc-Mental. 

6 

Action. 
Excentrc- Accentrie. 


W 

w 


Moral. 
Normal. 


Being. 

Mentc-Moral. 

2 

Action. 

Aecentrc-Normal. 


Being. 
Moro-Moral. 

I 

Action. 

Normc-Normal. 


Being. 

Vito-Moral. 

3 

Action. 
Excentrc-Normal. 




Vital. 
Exeentric. 


Being. 

Mento- Vital. 

8 

Action. 
A ccentrc-Excentric. 


Being. 

More-Vital. 

7 

Action. 

Normo-Excentric. 


Being. 
Vitc-Vital. 

9 

Action. 
Excentro-Excentric. 



11 



Phraseology of Charts 



The terms of the general chart are in the form of those 
used in medical phraseology, and correspond to the ablative 
of source in Latin and the nominative of the part affected. 
In the description of the muscular system in anatomy, for 
instance, we find two muscles named the genio-hyo glossi 
muscles. These muscles run from the genial (chin) process 
and from the hyoid bone to the tongue (glossus). In the 
compound term of the chart descriptive of the being, the 
term which ends in o describes the source, or side of being 
from which the impulse comes, and the term ending in al, 
describes the side of being to which the impulse goes and 
which becomes affected. The prefix in each case indicates 
the side of being which preponderates in the activity. Moro- 
moral, therefore, means an impulse arising in the moral 
nature and ending in the moral nature. This is simply 
activity of being on the side of the affections, or the love of 
the heart. This species is sometimes denominated 
reverence, adoration, worship, and so each species has its 
various shades of meaning. An impulse from the moral 
nature which actuates the mental is moro-mental in essence. 
Such is conscience, the love of the head, a heart impulse 
toward that which the head conceives to be right. An im- 
pulse from the moral acting upon the vital is moro-vital in 
essence. Such is sympathy, the love of the animal. But 
the excitement of being may not arise from the moral side 
at all. It may arise in the mental or vital and spend itself 
upon the moral. In the first case we should have the 
mento-moral in essence, viz. the wisdom of the heart, the 



12 

intuition of the true. In the second case we should have 
the vito-moral in essence, that is sentiment or vitality of af- 
fection. 

It will thus be seen how the chart diagrams the three 
general states of being and also the three general species of 
each state, by showing that either of our states of being 
may initiate activity of being and that this activity may 
either spend itself upon the state which initiates it, or it 
may pass over and influence either of the other states. 

The chart further shows how each of the states of being 
produces a definite kind of action in the motion of the 
organism, the moral state operating to produce poise in the 
organism by moving the separate agents around the in- 
dividual centers of gravity, the mental state producing con- 
traction of the organism by moving these agents toward 
their centre of gravity, the vital producing expansion by 
moving the agents from their individual centres. 

The action of the separate agents will be expressed in 
each case by action from the motion of the state which 
originates the action to the motion of the state which re- 
ceives it. The normo-normal thus signifies from a motion 
around or upon the center to a motion around the centre. 
This of course would produce equilibrium or a state of 
rest when acting in opposite directions or revolution when 
acting in the same direction, thereby preserving the poise 
of the organism either in a state of rest or in the spiral form 
of motion. 



13 



CHART OK BEING 

ON THE PSYCHOLOGIC SIDE. 



SPECIAL POWERS. 



Essence. 


Directive. 
Mento. 


Mental. 


Induction. 


Moral. 


Intuition. 


Physical. 


Instinct. 



Impulsive. 

Moro. 



Conscience. 



Love. 



Sympathy. 



Executive. 
Vito. 



Judgment. 



Sentiment. 



Sensation. 



14 



CHART OK BEING. 

ON THE PHYSIOGNOMIC SIDE. 



SUBDIVISIONS. 





Organism. 


Mento. Sub. 


Moro. Sub. 


Vito. Sub. 




Mental. 


Forehead. 


Nose. 


Mouth. 




HEAD. 


Eye and Ear. 


Cheek. 


Chin. 


o 


Division. 


Temple. 


Crown. 


Back of Head. 


I- 

> 
- 


Moral. 








< 


TORSO. 
Division. 


Thoracic. 


Epigastric. 


Abdominal. 




Vital. 


Feet. 


Lower Leg 


Thigh. 




LIMBS. 


and 


and 


and 




Division. 


Hands. 


Forearm. 


Upper Arm. 



15 



Chart ok Doing. 



SPECIFIC FORM, 





Action. 


Accentro. 
Contracted. 


Normo. 
Balanced. 


Excentro. 
Expanded. 


o 


Accentric. 

Toward 

the 

Individual 

Centres 

of 
Gravity. 


Accentro-Accentric. 

Extreme Degree 

of 

Contraction. 


Normo-Accentric. 

Moderate Degree 

of 

Contraction. 


Excentrc-Accentric. 

Slight Degree 

of 
Contraction. 


1-3 

El 


Normal. ' 

Around or 

upon the 

Individual 

Centres 

of 
Gravity. 


Accentro-Normal. 

Contracted 

about 
The Centre. 


Normo-Normal. 

Balanced 

about 

The Centre. 


Excentro-Normal. 

Expanded 

about 
The Centre. 




Excentric. 
Away from 

the 

Individual 

Centres 

of 
Gravity. 


Accentro-Excentric. 

Slight Degree 

of 

Expansion. 


Normo-Excentric. 

Moderate Degree 

of 

Expansion. 


Excentro-Excentric. 

Extreme Degree 

of 

Expansion. 



16 



lianguage of Expression, 



Expression in man is the manifestation of his states of 
being by the physical motions of the body. There are 
three languages needful for this : 

The verbal language or speech, which is partly artificial, 
differing with different people. 

The Vocal or tone language, the inarticulate cries or 
tones of the voice, by which man manifests his sensitive 
condition ; that is the pleasure or pain, the calm or excite- 
ment, the indifference or interest of the sensitive side of his 
nature. 

The pantomimic or gesture language, which consists of 
the attitudes and gestures of the body, limbs and face, by 
which is manifested the deepest conditions and intentions of 
the human soul. 



5 o 



r Mental. 
Moral Language of Expression. 
Physical. 



r Word. 
Gesture. 
Tone. 



8gf 



< 



Form. 

Surface Language of Representation. 

Substance. 



Line. 
Color. 
Light and 
Shade. 



IT 



Chart of Symbolic Colors 



SECONDARY. 





Represent. 


Yellow Hue 
Mento. 


Red Hue 

Moro. 


Blue Hue. 
Vito. 




Intellig'ce. 


Yellow and Yellow 


Red and Yellow. 


Blue and Yellow. 




YELLOW. 


YELLOW. 


ORANGE. 


LIGHT GREEN. 




Light- 








Love. 


Yellow and Red. 


Red and Red. 


Blue and Red. 


tf 
(^ 


RED. 

Heat. 


SALMON. 


RED. 


PURPLE. 




Power. 


Yellow and Blue 


Red and Blue. 


Blue and Blue. 




BLUE. 


DARK BLUE. 


VIOLET. 


INDIGO. 




Chemical 
Action. 









IS 



Expressive Elements of Action, 



INFLECTIONS, ATTITUDES, BEARINGS 

Inflections of any member of an organism assert a 
transient activity of the substantive being, either on the 
physical, the mental, or the moral side. They are, there- 
fore, the verbs of expressive action. Inflections toward the 
individual centers of gravity assert activity on the mental 
side; inflections away from these centers, activity on the 
vital side, and inflections around these centers, activity on 
the moral side. 

Motions, or inflections of the arms, for instance, laterally, 
or around one's own center of being, signify a passing out 
of thought or feeling to those persons or objects on the 
plane of our own horizon. 

Our larger and more important purposes we deliver or 
hand out with the right arm, just as we would in delivering 
large physical objects. We poise or counter-balance in 
delivering with the arms by using the left arm in lighter and 
subordinate passages, and in the delivery of counter-balanc- 
ing antithetic relations of thought. The way in which the 
hand is turned in completing the inflective motion of the 
arm, in other words, the relative attitude of the hand upon 
the arm, gives the thought relation for which the delivery is 
made. Some of these are given in the chart of Typical 
inflections with the arm, but all inflective motions outward 
in the breadths objectify states of the will. They exhibit the 
efforts of the will or affective nature to preserve the poise 
of our being amid surrounding persons, objects or ideas. 
They are the motions by which we expose our views, 



19 

reveal truths, bestow favors, renounce errors, reject propos- 
als, deny requests, and in general, pass out subjective states 
of the moral nature. 

Inflections in the verticals, on the other hand, objectify 
the mental state. They refer truths, ideas, and feelings, 
not to the decision of other individualities, but to the fixed 
balance of our own individuality. Such inflections say, 
"this truth needs no weighing on your part. I have 
weighed and settled it. I therefore refer it to the earth, 
my center of gravity, with a force proportioned to its 
weight, and to the elevation from which I took it." 

Inflections in the lengths, that is, frontwards, or in 
the line of our locomotion, objectify the vital, the executive 
state. Such inflections say, "I am in earnest about this 
matter, and I am ready to use force to accomplish or to 
deliver my thought." 

Attitudes, postures of the substantive being, modify its 
inflections, the verbs, by showing the subjective condition 
or the objective relation of the being under which the in- 
flection is made. They are the adverbs of expressive 
action. Those which show the subjective condition of the 
being are called conditional attitudes. Those which show 
the objective relation of the being are called relative atti- 
tudes. 

The same attitude, therefore, may express both a con- 
dition of the subject and a relation to some object. Defiance 
is expressed in the feet and legs, for example, by stepping 
backward with one foot, throwing the weight upon it, and 
stiffening both knees; but if you step back with the right 
foot, so as to bring your front to the left, you show that the 
object or person toward which that feeling or condition is 



20 

related is on your left. Of course stepping back with the 
left foot gives a different objective relation, but the same 
subjective condition. If I sav no by an inflective motion of 
the head, the significance of that passing act is modified both 
by the attitude of the head itself, and also by the attitude of 
the arms, the attitude of the feet and legs, and the attitude of 
the torso. 

Bearings are those attitudes of being, either conditional 
or relative, to which we have so habituated ourselves that 
they have become organic qualities of the substantive. 
These are the adjectives of expressive action. The piano 
player, for instance, has become so habituated to the 
delivery of his thoughts with bent fingers, that the same 
bearing of hand asserts itself whenever he attempts to deliver 
thought without the piano keys. If a young man with stoop- 
ing shoulders and slouching gait should proclaim himself a 
recent graduate of West Point, no one would believe him. 
Such is not the bearing of West Point graduates. The man 
who employs painters is not dependent upon their word in 
ascertaining the amount of experience which they have had. 
The bearing of the last joint in the second finger of the 
right hand tells the tale. 

In general, then, our bearings show to a greater or less 
extent the kind of beings w r e are, both in character and in 
conduct. Our attitudes show the temporary condition of 
that character, or the relation of that conduct. Our inflec- 
tions, by any member or agent of the organism, show either 
a passing act of experience or a passing act of expression. 
Repeated experiences or repeated expression beget a formal 
and habitual mode of inflective motion, attitude or bearing. 
The reverse, though not so generally recognized, is equallv 



21 

true. Gymnastic exercises, or even daily avocations, in 
which one form of motion predominates, foster and develop 
one side of the being at the expense of the other two sides. 
Wholesome physical exercise should stimulate the three 
sides of being by a proportionate exercise in the straight, in 
the circular, and in the spiral forms of motion. If any excess 
were allowable, it should be in the spiral form, as this tends 
to produce poise of being, both organic and spiritual. It is 
the nature of all organic life to develop along the line of 
use; hence habituated forms of motion, attitude and bearing, 
will beget habitual states of being on the subjective side, 
just as subjective experiences will reappear in objective 
forms of inflection, attitude and bearing. 



The Lrimbs 



FEET AND LEGS. 



The feet and legs exhibit, primarily, the vital executive 
side of being. In the animal organism they are the loco- 
motive agents for the execution of the entire being's activity, 
and hence their attitudes may express the condition of being 
on the physical side merely, or they may express the vital 
condition of the separate states. In the attitudes, therefore, 
the signification is given first as that of a bodily expression, 
and second as that of a sentiment. Each attitude is a type 
of the condition named, and may exist separately or may 
blend with any of the others. In the latter case the combi- 
nation will express a blending of the two conditions united. 
If this attitude is but a passing action it becomes an inflec- 
tion with the feet and legs, and so expresses the condition 



22 

named in a transient degree only. If it is the prevailing 
attitude, it becomes a bearing, and as such appears in the 
locomotive bearing of the body, becoming the basis of a 
walk. 

The normal attitudes of the feet are those in which the 
weight is borne equally upon the two legs. 

The accentric attitudes are those in which the weight is 
thrown upon the leg behind. 

The excentric attitudes are those in which the weight is 
thrown upon the leg in front. 

The weight should be borne upon the ball of the foot, 
in all attitudes except in those mental states where soliloquy 
is called for. This is the bearing for delivery of the being 
on its physical side, and as the voice is a physical agent, it 
will be found that the muscles by which it delivered are 
at the same time made ready for action. 

In practicing attitudes of feet and legs avoid unneces- 
sary motion and for the first order move the right foot and 
leg, except in numbers four, six and seven. In second 
order move left foot with the same exceptions. 

In passing from three to four simply sway the weight 
upon the foot behind and bring the free one to right angle. 

In passing from five to six simply straighten knee of 
strong leg and make both legs rigid. 

Change from six to seven by swaying weight on foot 
forward and relaxing knee of free leg. 






23 



Attitudes of Feet and Legs, 



Strong leg back, 

Knee bent, 


Strong leg back, 


Strong leg back, 


Free one advanced. 


Both legs rigid. 


Forward leg, 

Knee straight. 






5 


4 


6 


Sudden weakness, 

Prostration, 


Calm strength, 

Reserved force, 


Antagonism, 

Defiance, 


Despondent, 

Passions. 


Reflection. 

Controlled emotions. 


Opposition 




Weight both legs, 


Equal balance, 


Equal balance, 

Heels together. 


Feet, right angles, 
separated laterally. 


Feet separate frontwise. 


2 


I 


3 


Natural feebleness, 


Fatigue, 

Vertigo, 

Intoxication, 


Indecision. 


Respect, 


Deliberation. 


Deference. 


Familiarity, 

Vulgar boorishness. 




Strong leg forward, 

Knee straight, 


Strong leg forward, 

Knee straight, 


Strong leg front, 

Knee bent. 


Free leg, 
Crossed behind, 


Free leg back, 

Knee bent, 


Free one behind. 

Knee straight. 


8 


7 


9 


Suspensive, 


Vigor, 


Vehemence, 

Exaltation. 


About to turn, 
Ceremonious respect. 


Alertness, 

Attention, 
Animation. 


Explosive passions. 



24 



Attitudes of Feet and Liegs. 



I. 

"I am not drunk now; I can stand well enough, and 
speak well enough." 

"While Peter, the vigilant matrons to blind, Strolled 
leisurely out some minutes behind." 

"I pray thee put into yonder port for I fear a hurricane." 

"Say there! perhaps some of you chaps might know 
Jim Wild." 

"How are you, white hat! put her through." 

II. 

"Shall I have the pleasure of your company?" 

"It is indifferent cold, my lord, indeed." 

"Sir, I am delighted to see you here, and looking so 

well." 

III. 

"Their van will be upon us before the bridge 'goes 
down." 

"Should he go, or should he stay." 

"The affrighted air with a shudder bore." 

IV. 

"To every man upon this earth death cometh soon or 
late." 

"I rise, my lords, to declare my sentiments." 

"Has the gentleman done? Has he completely done?" 



25 

V. 
"Oh! I die, Horatio. The potent poison quite o'er- 
crows my spirit." 

"Help me, Cassius, or I sink!" 
"In the ghastly, gleaming forest fell, and could not rise 
from weakness." 

"Ah! Mary, good-bye." (The Picket Guard.) 

VI. 

"Here I stand for impeachment, or trial; I dare accusa- 
tion." 

"This flag can neither fly nor yield." 

"Nay, never look upon your lord, and lay your hand 
upon your sword." "I tell thee thou art defied." 

"I defy the honorable gentleman. I defy their whole 
phalanx." 

VII. 

"Lo! I will stand at thy right hand, and keep the bridge 
with thee." 

"We drink the downfall of an accursed land." 

"They tell us, sir, that we are weak," etc. 

VIII. 

"Ah, gentlemen, you come with me, I show bust of 
Christofer Colombo." 

"Was it the night wind that rustled the leaves? Was it 
moonlight so wondrously flashing? It looked like a rifle." 

IX. 

"To arms! To arms! sir consul, Lars Porsena is here." 

"Make way for liberty! he cried." 

"Elizabeth! Elizabeth! where is my wife Elizabeth!" 



26 
The flpm. 

The legs and arms both manifest the vital side of being. 
The legs seem to manifest more distinctly the vital sustain- 
ing power of the whole being, and the arms to differentiate 
this power in manifestation of the separate states. The 
normal series of arm attitudes, therefore, show the vital 
condition of the moral nature, the accentric series, the vital 
condition of the mental nature, and the excentnc series the 
vital condition of the physical nature. 

In the evolution of force in arm motions, nerve force 
strikes the shoulders first, and is registered in intensity by a 
porportionate rise in the shoulders. The shoulder thus 
becames a sort of thermometer of vital, sensitive intensity. 
When this force reaches the elbow, the moral nature, the 
determining power of being, begins to act and, the elbow is 
rotated or swung into the vertical plane in which the action 
is to be completed. The elbow thus becomes a kind of ther- 
mometer for registering vitality of will. When this nerve 
force reaches the wrist, the vital energy is discharged in 
placing the hand and fingers, the mental section of the arm, 
so that the wrist becomes a thermometer of the vital energy 
on the mental side. When any of these thermometers regis- 
ter a rise, that is a motion away from the centre of the 
organism, they show vital intensity in the manifestation of 
these separate sides of the being. The shoulders, for instance, 
rise in exact proportion to the excitement of the physical. 
If this excitement is normal or under control, the rise is not 
noticable, and if it is less than normal there is a depression 
of th: shoulders, showing prostration or a lack of vital 
energy. 



27 

When the elbows are carried out from the sides they 
register an assertion of the will. If they are drawn in and 
pressed against the sides they register timidity, or suppres- 
sion of will. When the wrist turns out it is to expand the 
hand and place it in the particular form demanded by the 
mental aspect of this objective motion; so that, as proverbs 
have it, the man "teacheth with his fingers." 

The distances which the different sections of the arm 
traverse in making these motions are as follows : The upper 
arm travesres half the distance to be covered before the 
forearm begins to unbend; the upper arm still moving, the 
forearm traverses half the remaining distance before the 
hand begins to unfold; the upper and forearm still moving, 
the hand expands from wrist to knuckles, for half the re- 
maining distance, and the motion is completed in the same 
order by the last joint of the fingers. 

There should be no perceptable halting of motion at 
these points except in learning to proportion the distance, 
but a gesture with the arm to be harmonious or graceful 
must have these proportions in the unfolding. 

Force retires from the arm in the reverse order; fingers 
relaxing first, then wrist, elbow and shoulders. 

ARTICULATIONS. 
Shoulder — Thermometer of sensibility and passion. 
Elbow — Thermometer of affection and self will. 
Wrist — Thermometer of vital energy. 

SHOULDER. 

Raised— Sensibility, passion. 
Lowered — Insensibility, prostration. 
Contracted — Patience, endurance, sufferance. 



28 

ELBOW. 
Turned out — Selfwill asserted or attracted. 
Turned in — Selfwill, suppressed or repulsed. 
Normal — -Selfwill, in repose or indifferent. 

WRIST. 

Turned out — Vital force in action. 
Turned in — Vital force in accumulation. 
Normal — Vital force in repose. 



29 



Attitudes of Arm. 



Arms carried back of body. 


Arms hanging from should- 


Arms carded full length in 




ers at sides. 


front of body. 


5 


4 


6 


Subjective reflection, 


Calm repose, 


Objective reflection, 


Force concealed. 


Indifference. 


Force in preparation. 


Arms crossed on breast. 


Elbows bent by spasmodic 


Arms extended from should- 




contraction in muscles of 


ers in breadths, 




upper arm. 


Elbows unbent. 


2 


I 


3 


Suppression of will, 


Suspense of will in its atten- 


Assertion of will in force or 


Resignation. 


tion or intention. 


affection. 


Arms folded tightly on chest. 


Elbows bent, 


Arms extended full length 


Shoulders raised. 


Hands on hips. 


in front level with 


8 

Vital concentration, 

Suppressed passion, 

Reflective form of excite- 


7 

Vital repose, 

Self assertion, 

Insolence. 


shoulders. 

9 

Exaltation, 
Passional explosion. 


ment. 







Like all other attitudes given, these are types, and may 
exist separately or in combination. The combination will 
always possess the significance of the different types com- 
bined. 



30 

ATTITUDES OF ARM. 
I. 

"Whence came those shrieks so wild and shrill!" 

"Hark! did ye not hear it?" 

"We gazed, but not a man could speak." 

II. 

"Cross her hands humbly, as if praying dumbly, over 
her breast." 

"King Robert crossed both hands upon his breast, and 
meekly answered, Thou knowest best." 

"Hands upon his bosom crossed, 
Knelt the monk, in rapture lost. 
Lord, he thought, in heaven that reignest, 
Who am /, that thou deignest. 

III. 

Then ran with arms extended wide, 

As if his dearest friend to clasp; 
Make way for liberty/ he cried," 
"Three millions of people, armed in the holy cause of 
liberty, .... are invincible." 

"God so loved the world that he gave his only begotten 
son, that whosoever" 

IV. 
"I am charged with pride and ambition." 
"When public bodies are to be addressed." 
"The gentleman, sir, has misconceived the spirit and 
tendency of Northern institutions." 

V. 

"McLaine, you've scourged me like a hound." 



31 

"What will you give me now for that same handker 
chief?" 

"It must be by his death." 

VI. 

"He dares not touch a hair of Catiline." 

"If there be three in all your throng dare face me on 
the bloody sands, let them come on" 

VII. 
"Oh come ye in peace here, or come ye in war." 
"Dar'st thou now, Cassius, leap in with me into this 
angry flood, and swim to yonder point?" 

VIII. 

"So he folded his arms as he stood there alone, as calm 
and as cold as a statue of stone." (A blend of the second 
and eighth.) 

"But Douglas round him drew his cloak, My 

manors, halls" etc. 

"Revenge is just, revenge is sweet" 
"You may keep your gold; I scorn it." 

"Clasping the standard to his heart, he raised one 

dying peal, 
That rang as if a trumpet blew — Olea for Castile!" 

IX. 

"My child! My child! with sobs and tears, 
One moment shrieked the mother." 
"Oh! all ye hosts of heaven." 



32 



Typical Inflections of Arm. 



Movement downward. 


Movement downward, 


Movement upward, 


Hand ac. nor. rel. 


Hand nor. nor. rel. 


Hand ex. nor. rel. 


5 


4 


6 


Affirmation. 


Caress. 


Nomination. 


Movement outward laterally 


Movement outward laterally- 


Oblique movement laterally 


Hand a?, nor. rel. 


Hand nor. nor. rel. 


Hand ex. ex. rel. 


2 


I 


3 


Negation. 


Declaration. 


Rejection. 


Movement lengthwise to- 


Movement lengthwise from 


Movement lengthwise from 


ward torso hand, 


torso. 


torse. 


Ex. ex. rel. 


Hand ex. nor. rel. 


Hand ex. ex. re\ 


8 


7 


9 


Attraction. 


Acceptation. 


Repulsion. 



33 

TYPICAL INFLECTIONS OF ARM. 

I. 

"And a word that shall echo forevermore." 

"And the raven never flitting, still is sitting, still is sit- 
ting." 

II. 

"And my soul from out that shadow that lies floating on 
the floor, shall be lifted nevermore" 

"Unmoved by the rush of the song.'' 

III. 
"He was despised and rejected of men." 
"Pass on, relentless world." 

IV. 
"You may see me bye and bye, though, if I get rid of 
this jumping, thumping, -pain in 'my head.'''' 

V. 

"Sir, we are not weak." "But as for me, give me 
liberty, or give me death." 

VI. 

"I hold this thing to be grandly true." 

"Margaret, say but God save the King." 

This form of motion names the subject matter of the 
gesture, and unless this is emphatic, passes on to some other 
inflective form, the most common of which are the declara- 
tive and the affirmative forms. 

VII. 
"Give that book to me!" 



34 

"Tell me, ye who tread the sods of yon sacred height, is 
Warren dead?" 

The most common form for interrogation. 

VIII. 

"They turned young Margaret's face toward the sea, 
where something white was floating; but as she looked, it 
sank; then showed again; then disappeared." 

"That is something at my window lattice. Let me see, 
then, what thereat is." 

IX. 

"Avaunt, and quit my sight; let the earth hide thee." 

"The dignity of this country ought to spurn at the 
officious insult of French interference." 

The Hand. 

The hand is the vital, the executive agent of the mind. 
It manifests (inamis fendoi} what the mind has sought to say 
through the face. It is the prime seat of touch, the funda- 
mental sense of being; all the other senses, seeing, hearing, 
smelling and tasting, being but refinements or species of the 
one generic sense of touch. The hand is the organic agent 
for verifying the revelations of the other senses, both in the 
development of the being and in its subsequent manifesta- 
tions. 

Most, if not all, of the expressions of the hand may be 
explained by its uses in the exercise of this guiding sense of 
touch. It is common to consider the hand as expressive 
in three general ways; by its faces, by its functions, and by 
its indications. The first shows the side of the hand with 



35 

which we would -perform the touch, the second shows the 
office for which we would perform the touch, and the third 
shows the condition and -place at which we would perform 
the touch. 

ITS FACES. 

The Palm is vital, revealatory. It furnishes the great- 
est sensitive surface for the exercise of its vital sense of 
touch in receiving impressions and things, and hence for 
disclosing and bestowing them. 

The Side is mental, definitive. It furnishes the most dis- 
criminative sense of touch, especially at the tips of the 
fingers. 

The Back is moral, mystic. It furnishes the least dis- 
crimination of touch, and hence is obscure as a guiding face. 

We face the objects of our attention just in proportion to 
the earnestness of that attention. The face of the hand, 
accordingly, which we present toward an object of thought, 
shows the measure of earnestness with which we would 
touch upon it. With the palm we give a strong touch, 
with the side a minute, an exact touch, and with the back a 
careless, an indifferent touch. 

ITS FUNCTIONS. 
By this mode of expression is meant the functional office 
of the hand for executing the ideas represented by the ety- 
mologies of words, and in general the illustrative functions 
of the hand in descriptive gesture. Too frequent and 
elaborate use of this mode of gesture is a fault common to 
the first conscious efforts in expressive gesture, just as too 
minute details in the use of figure is common in the first 
artistic efforts at verbal composition. In the endeavor to 
make the illustration complete, the thing illustrated is lost 
sight of. 



36 

Illustrative gesture, by functional action, not only of the 
hand, but also of the other agents, belongs more commonly 
to impersonation, and indicative action to description and 
narration. The suggestive style of rhetoric is as desirable 
in gesture and in tone as it is in verbal language. 

TYPICAL FUNCTIONAL GESTURES OF THE HAND. 

Define. — The office of the hand in making motions [de) 
concerning the {finis) boundary, end, outline. 

Indicate. — The office of the hand for [dico) proclaim- 
ing anything [in) at or upon a certain place. 

Affirm. — The office of the hand [fir mo) to make firm 
[ad) at or upon something (terra firma). 

Deny. — [De) [nego) concerning the saying no. The 
office of the hand for showing that things are not firm, or at 
a fixed balance. 

Mold. — The function for working clay [mold). 

Detect. — The office by which we discern (de) concerning 
[tego) the cover, or surface ; that is, by passing the thumb 
over the sensitive tips of the fingers. 

Conceal. — The office by which we [celo) hide [con) 
with the hand. 

Reveal. — The office by which we put [re) aside, back, 
{velum) a veil, curtain. 

Surrender. — The office by which we render one object 
[supra) over, above another. 

Reject. — The office for [jaceo) throwing things [re) 
back or aside. 

Inquire. — The office for [qumro) seeking [in) into. 



37 

Support. — The office for {porto) bearing {sub) from 
beneath. 

Assail. — The office for {solid) leaping {ad) at; to scratch 
or tear. 

ITS INDICATIONS, 

The hand indicates (points out) the inward, subjective 
condition of the being by its conditional attitudes, that is by 
its sympathetic contractions and expansions, — the conditio7i 
of the hand for exercising its sense of touch, showing the 
condition or state of the presiding- spirit; expansion indicat- 
ing a vital executive condition of being and contraction, in- 
dicating a mental, reflective condition. The hand also in- 
dicates the relation of the being by its relative attitudes; its 
attitudes in relation to the arm showing the relative side of 
being which is active, and its attitudes in relation to the 
earth showing the relative species of that activity. In other 
words, its attitudes upon the arm show the relation of the 
touch to one's own being, and its attitudes toward the earth 
show its relation to other beings or things. The hand 
further indicates the transition, the passing activity of being 
from one relation to another by the inflective motion of the 
hand from one relative attitude to another ; or back and 
forth in the same attitude. See a few of the types in the 
inflective chart of hand. 

RELATIVE ATTITUDES OF HAND. 

The relative attitudes of the hand, as has been said, find 
their probable explanation in the original use of the hand 
in touching the three dimensions of physical objects, or in 
the correspondence which these attitudes bear to such acts. 

The attitudes of the hand upon the arm, for instance, 
bring it into position for touching a cube on each surface of 



38 

its three dimensions, while its attitude relative to the eaith 
in touching each of these surfaces, gives three species of 
touch for each dimension. With the hand straight upon 
the arm, 1 certify the place of an object by touching it on 
the side, or on the top or by holding it up. 

With the palm turned to self, I limit or bring an object 
to me by taking hold of its front from the side of the object, 
by seizing that front from the top or by reaching under and 
drawing it to me. 

With the palm turned out, I release and give motion to 
an object, in the forward direction, by standing at the side 
of the object and pushing upon its back, by taking hold of 
the back surface from above and pitching it, or by taking 
hold of it from below and thowing it. 

In each relative position of the hand, therefore, the 
touch refers to the content of an object, image, or idea 
either in the moral, the breadths relation, in the mental, the 
height relation, or in the vital, the length relation. 

In the breadths relation the touch certifies, verifies, 
specifies the content, first, simply as an object, idea, etc. 
Second, as an object or idea in subjection, third, as an ob- 
ject, or idea in exaltation. 

In the height relation, the touch limits the content, as an 
object, idea; as an object or idea in subjection; as an object 
or idea in exaltation. 

In the lengths relation, the touch releases, sets forth the 
content as an object, image or idea; then as the same in 
subjection-, and, thirdly, as in exaltation. 



39 



Relative Attitudes of Hand. 



Palm turned to self, 


Palm turned to self, 


Palm turned to self, 


Fingers to eaith. 


Side to earth. 


Fingers from earth. 


5 


4 


6 


Limits content with exalta- 


Limits content of object 


Limits content with subjec- 


tion of self. 


or idea. 


tion of self. 


Hand straight with forearm, 


Hand straight with forearm. 


Hand straight with forearm, 


Palm to earth. 


Side to earth. 


Palm from earth, 


2 


I 


3 


Certifies content with exal- 


Certifies content of object 


Certifies content with sub- 


tion of self. 


or idea. 


jection of self. 


Palm turned out 


Palm turned out, 


Palm turned out 


Fingers to earth. 


Side to earth. 


Fingers from earth. 


8 


7 


9 


Releases content with exalt- 


Releases content of object 


Releases content with sub- 


ation of self. 


or idea. 


jection of self. 



40 

INFLECTIONS OF HAND. 

Downward inflections of the hand show a passing from 
the higher to the lower relation, from exaltation to subjec- 
tion, from the plane of the superior to the plane of the in- 
ferior; the relative attitude of the hand giving to the in- 
flection a specifying, a limiting or a releasing touch. Such 
inflections, therefore, are in their nature affirmative, posi- 
tive, conclusive, retrospective. 

Upward inflections show the transition to be from the 
inferior to the superior, from subjection to exaltation, from 
nothing to something. Such inflections are interrogative, 
nominative, prospective. 

The altitude to which the inflections rise or from which 
they fall, shows the degree of positiveness, or the degree of 
incompleteness, the degree of exaltation or of subjection in 
the relation. * 

Outward inflections show a passing from the subjective 
to the objective relation, from the individual to the general, 
from the near to the remote. 

Such inflections are declarative, rejective, executive, 
negative, according to their direction in space, and accord- 
ing to the relative attitude of the hand. 

Inward inflections show a passing from the objective to 
the subjective, from the transitive to the intransitive, from 
the external to the internal relation. These inflections are 
acceptive, receptive, reflective. 

The altitude at which the outward or inward inflection 
begins or ends, shows its relation to the plane of the su- 
perior, both of being and of space. 

Inflections in the oblique express the combined re- 
lations of the vertical and the horizontal. 



41 



Typical Inflections of Hand 



Hand from ac. ex. to 


Hand from ex. ac. to 


Hand from ex. ex. to 


ex. ac. rel. 


ac. ex. rel. 


ac. ac. rel. 


5 


4 


6 


Appeal to self. 


Salutation. 


Debasement. 


Hand ac. nor. rel. moves 


Hand nor. nor. rel. moves 


Hand ex. nor. rel. moves 


from side to side. 


up and down. 


from side to side. 


2 


I 


3 


Impatient negation. 


Simple statement, 
Formulation, definition. 


Distribution. 


Hand from nor. ac. to 


Hand from ac. ac. to 


Hand from nor. ex to 


nor. ex. rel. 


ex. ex. rel. 


nor. ac. rel. 


8 


7 


9 


Exposition, revelation. 


Exaltation, surprise. 


Concealment, deceit. 



42 

TYPICAL INFLECTIONS WITH HAND. 
I. 

"Most true it is that Doubt of any sort cannot be re- 
moved except by action." 

"If you had known the virtue of the ring, or half her 
worthiness that gave the ring." 

II. 

"I denied you not." 

"Anything but housework they are willing to do." 
"It now appears you need my help. Go to, then." 

III. 
"Through all the wide border his steed was the best." 
"For taking bribes here of the Sardians." 
"Forty old bachelors sold here to-day." 

IV & V. 

"Hail to your lordship." 

" 'Tis a quick lie, sir, and will away again from me to 
you." 

"The thing looks simple enough to me, and if you doubt 

it," 

" 'Twas mine, 'tis yours; and has been slave to thous- 
ands." 

VI. 

"Oh! disgrace upon manhood." 

"If ye are brutes, then stand here." 

"Where is Polonius?" "In Heaven; send thither to see; 
if your messenger find him not there, seek him f the other 
-place yourself." 



43 

VII. 

"What! all my pretty chickens and their dam at one fell 
swoop." 

"Or when they climb the sky, or when they sink." 
"High as the heavens, your name I'll shout." 

VIII. 
"Our brethren are already in the field." 
"There is a tide in the affairs of men." 
"Her father loved me, oft invited me." 
"Behold I show you a mystery; we shall not all sleep, 
but we shall all be changed." 

IX. 

"And the bride maidens whispered, ' Twere better by far 
to have matched our fair cousin to young Lochinvar '." 

"But soft, methought you said you neither lend nor 
borrow upon advantage." 

"The hand of Douglas is his own." 
"Where is your father? At home, my lord" 



44 



Typical Affirmations. 



Hand ac. ac. rel. 

5 

Commands. 


Hand nor. ac. rel. 

4 

Limits. 


Hand ex. ac. rel. 

6 

Mystifies. 


Hand ac. nor. rel. 

2 

Protects. 


Hand nor. nor. rel. 

I 

Defines. 


Hand ex. nor. rel. 

3 

Supports. 


Hand ac. ex. rel. 

8 

Opposes. 


Hand nor. ex. rel. 

7 

Reveals. 


Hand ex. ex. rel. 

9 

Demonstrates. 



45 

TYPICAL AFFIRMATIONS. 
I 

"If every ducat in six thousand ducats were in six parts, 
and every part a ducat, I would not draw them; I would 
have my bond." 

"As God's above, said Alice the nurse, 
I speak the truth; you are my child" 

II. 

"Stand! The ground's your own my braves." 
"I stand between him and your lawless band." 
"Who touches a hair of yon gray head, dies like a dog!' 

III. 

"I pledge thee faith, my liege, my lord." 
"All that I have, and all that I am, and all that I hope, 
in this life, I am now ready here to stake upon it." 

"A hundred hands flung up reply, 
A hundred voices answered 'I' " 

IV. 

"The warfare is not ended at the Jordan." 
"We must restrict this iniquitous traffic." 
"He shall do this, or else I do recant the pardon that I 
late pronounced here." 

V. 

"Send us your prisoners by the speediest means, or 
yoiCll hear of it" 

"Down, therefore, and beg mercy of the Duke." 
"Get thee gone, but do it" 



46 

VI. 

"There's ne'er a villain dwelling in all Denmark, but 
he's an arrant knave." 

"The body is with the king, but the king is not with the 
body." 

"Have patience, gentle friends; I must not read it." 

VII. 
"I denied you not." 

"I said an elder soldier, not a better." 

"Why fear not, man; I will not forfeit it." 

VIII. 
"I tell the gentleman I will neither give quarter, nor 
take it." 

"I tell you, though you, though all the world, though an 
angel from heaven should pronounce it true, I would not 
believe it. 

IX 
"Honor the charge they made." 

"Here is the steed that saved the day, 
By carrying Sheridan into the fight, from Win- 
chester," 



47 



Conditional Attitndes of Hand. 



Closed tightly, clenched. 


Closed, thumb laid straight. 


Fingers and thumb crooked 


5 


4 


toward cantre. 


Conflict, struggle, 


Power, self-possession. 


6 


Concentration of force. 




Convulsion. 


Drooping from wrist, 


Straight on wrist and 


Sloping out from wrist, 


Muscles relaxed. 


partly open. 


more open 


2 


I 


■' 3 


Prostration, indifference, 


Calm, repose. 


Approbation, tenderness. 


Insensibility. 






Hand expanded, final joints 


Hand and fingers moderate. 


Hand, fingers and thumb 


of fingers contracted. 


ly expanded. 


widely expanded. 


8 


7 


9 


Exasperation. 


Animation, attention, 
earnestness. 


Exaltation of passion. 



CONDITIONAL ATTITUDES OF HAND. 
I. 
"Girt round with rugged mountains the fair Lake 
Constance lies." 

"Up from the meadows rich with corn." 

II. 

Down fell that pretty innocent as falls a snow white 
lamb." 

"I pray you, give me leave to go from hence; I am not 
well; send the deed after me, and I will sign it." 

III. 

"No, my child, said old Nokomis; 'tis the smoke that 
waves and beckons." 

"Sleep soft, beloved, we sometimes say." 

IV. 

"Where he could find the strongest oak." 

"I have seen eloquence in the iron logic of Calhoun." 

"And Tom Corwin could hold a mob in his right hand" 

V. 

"And then we thought on vengeance, and all along our 

van, 
' Remember St. Bartholomew] was passed from man to 

man." 

."In this the dawn of freedom's day, there is a time to 
fight and pray." 

VI. 

"He strained the dusty covers close, and clasped them 
with a clasp; Oh God! could I so close my mind, and clasp 
it with a clasp." (Both hands.) 



49 

"They are lost," she muttered, "boat and crew." 

VII. 
"Hear the sledges with the. bells." 
"I am to be queen o' the May, mother." 
"Away! away! through the wide, wide sky." 

VIII. 
'Tin whipped and scourged with rods." 
"Curse on him! will not the villain drown! 
"Oh, ye Gods, ye Gods, must I endure all this?" 

IX. 

"Like a thunderbolt, the tigress sped, and the man fell 
screaming.'''' 

"Ah! the eyes of Pauguk glare upon me in the dark- 
ness; I can feel his icy fingers clasping mine amid the dark- 
ness, Hiawatha! Hiawatha!" 

The Topso. 



The moral nature is central, not only psychologically 
but physiologically. "Of moral science," says Mark Hop- 
kins, "the phenomena are not only within us, but belong 
to that part of our nature which is special to us, and whose 
circle lies nearest to its central point." 

The torso, or trunk of the body, is the moral division of 
the oiganism, and exhibits, primarily, the love of the being, 
Or self-interest. Like the other divisions of the organism, it 
expresses the being by its inflections, by its attitudes, and by 
its bearings. Its sub-divisions, or zones, become sympa- 



50 

thetic points of touch for indicative gestures of the hand, 
according as our love of self is affected by conscientious, by 
affectionate, or by animal impulses. The touch of the hand 
upon these separate zones indicates the source of the moral 
affection, and the carrying of the hand away from any of 
them indicates an objective manifestation of that particular 
phase of self-interest. The torso, being the physical agent 
of the moral, volitional nature, should be in all of its expres- 
sions possessed and firm ; for fugitive, unregulated motions, 
show demoralization of will. 

ITS ZONES. 
Thoracic. — Mental, conscientious. 

"My conscience, hanging about the neck of my head 
says very wisely to me." — Shakespeare. 

"Am I to be loaded with calumny, and not suffered to 
resent and repel it?" 

"The interests of the soul must be considered." 

Epigastric. — Moral, affect ionaL 

"Oh! ever venerated shade of my departed father, look 
down with pity upon your suffering- son." 

"I know all about it; I have been in love myself"'' 

Abdominal . — Vital, appetitive. 

"On Peter's side rare oysters grew, and they always 
made him sick." 

"Oh! I die for food; here lie I down and measure out my 
grave." 

CONDITIONAL ATTITUDES. 
Expanded. — Health, power, courage. 

"I am a Roman citizen; I have served under Lucius 
Pretius, at Panormus." 

"I know what was the majesty of Webster." 



51 

Contracted. — Pain, weakness, fear. 

"I felt my heart bleed when that glance went." 

"But one poor Tyrol maiden felt death within her heart." 

Relaxed. — Indolence, prostration, insensibility. 

"I know what it was to melt under the magnetism of 
Henry Clay" 

"Rolled neck and croup over, lay dead as a 
stone." 

"Help me, Cassius, or I sink." 

RELATIVE ATTITUDES, 
-r . , . j Direct — vital, objective attraction. 

» 6 ' J j Oblique — moral, subjective " 

"I see him, I see him; he's plunged in the tide; 

His strong arms are dashing the big waves aside." 
"And lo! from the heart of that far-floating gloom, 

What gleams on the darkness so swan-like and white." 

T r -,. , ( Direct — vital, objective repulsion. 

.Leaning from obiect \ ~ U1 . ' , J ,. ,. r rr 

& J J I Oblique — moral, subjective " 

"Do not presume too much upon my love, I may do 
that I shall be sorry for." 

"Go preach to the coward, thou death telling seer! 
Go preach insurrection to men like these." 

f Direct — self -surrender, humility, 

t £ jr u- 4. i shame. 

.Leaning before obiect^ ^, ,. , . . , ir , 

° J j Oblique — subjective, hali-heart- 

|^ ed, humility, etc. 
"Give back the boy, I yield he cried!" 
"O wise young judge, how I do honor thee." 
"Most high, most mighty, most puissant Caesar, Metel- 
lus Cimber throws before thy seat an humble heart." 



52 

INFLECTIONS- 
Up and down. — Despair of the vulgar, weak or aged 
"O lauk, oh dear, my heart will break!" 
"Begar! here's Monsieur Tonson come again." 
"He's sinking! he's sinking! Oh what shall 1 do" 

Side to side. — Carelessness, indifference to consequences. 
"Right through the line they broke." 
"Anywhere! anywhere out of the world." 

Twisting motions. — Childish impatience, chaos of will. 

"I am exceedingly sorry, ma'am," said Mr. Pickwick, 
bowing very low. "If you are, sir, you will at onee leave the 
room" said the lady. 

"You want to see my Pa, I s'pose." 

" 'Twas she herself, sir, sobbed the lad." 

The Head. 

Like the other divisions of the body, the head is expres- 
sive, as a whole, by its inflections, by its attitudes, and by 
its bearings. Inflections, attitudes or bearings, beyond 
what is demanded for harmonic poise, show that one has 
"lost his head," as the saying is, and that the being is sur- 
rendered to an uncontrolled impulse, from the moral, the 
intellectual, or physical nature. They show that the rational, 
the guiding power of being, which is symbolized by the 
head, has lost control of the body, and that nature rushes 
headlong in whatever direction the sensibilities may indicate. 

The head has its active and its passive centers of mani- 
festation. The eyes and the eyebrows are the active 
mental agents; the nose and the cheeks the moral; the 
mouth and the lower jaw the vital. The passive centers 



53 

are: the forehead and ear the mental, the top of the head 
the moral, the back of the head the vital. These passive 
centers become points of touch for the hand, by which are 
indicated the analytical, the conscientious, or the executive 
action of the brain. 

When Hamlet says, "About my brain!" he taps his fore- 
head, for he means to tell that part of his brain, the idea- 
tional center, to be about it, and invent some plan to catch 
the king. 

When he says, "Oh, what a rogue and peasant slave am 
I! " he touches the top of his head, the conscientious, moral 
section, for he is ashamed of his past thinking. When 
he is suddenly surprised and shocked by the appearance of 
the ghost, and exclaims, "Angels and ministers of grace, 
defend us," one hand very justly seeks the vital center at 
the back of the head. 

In Carleton's " Schoolmaster's Guests," when the four 
good district fathers "gave the consent that was due," he 
describes them as scratching their heads. The point for 
this touch would be in the temporal region, about the ear. 
Their brains were not formulating any decision, but simply 
giving "consent," hence the hand would seek that section 
which lies between the constructive brain in front and the 
instinctive vital action of the cerebellum. 

So a touch upon the cheek or the nose or the chin indi- 
cates sympathy with a different species of mental activity 
in each case. 



54 



Attitudes of Head 



Forward and laterally to- 


Inclining forward- 


Forward and laterally from 


ward auditor or object. 




auditor or object, 


5 

Favorable reflection. 


4 

Reflection, concentration, 
judicial scrutiny. 


6 

Suspicion, jealousy. 


Inclining laterally toward 


Erect and natural. 


Inclining laterally from 


auditor or object. 


I 


auditor or object. 


2 


3 


Trust, tenderness, honor- 


Calm, repose, indifference. 


Distrust, egotism, sensual 


able regard. 




regard. 


Backward and laterally to- 


Inclining backward. 


Backward and laterally from 


ward auditor or object. 




auditor or object. 


8 


7 


9 


Abandon, confidence, ex- 


Exaltation, vehemence, ex- 


Pride, exclusiveness, scorn. 


alted trust. 


plosion. 





55 

HEAD ATTITUDES. 
I. 

"It is not work that kills men, it is worry." 
"To him who in the love of Nature holds communion 
with her visible forms." 

II. 
"Well, honor is the subject of my story." 
"We all expect a gentle answer, Jew." 

III. 
"I blame you not for praising Cagsar so; but what 
compact mean you to have with us?" 

"We two are the greatest folks here to-day." 

IV. 
"I am debating of my present store." 
"To be, or not to be, that is the question." 

V. 
" Thought the young men, 'tis an angel in Mary Gar- 
vin's stead." 

And nodded obliquely, and muttered, "litem ''ere is 
my sentiments tew /" And scratched their heads, slyly and 
softly and said, "Them's my sentiments tew." 

VI. 

"Thought the Elders, grave and doubting, she is papist 
born and bred." 

"Look here my lad; that's all very fine, but it won't do 
here—" 

VII. 

"Turn, turn thou traitor knight; Thou bold tongue 
in lady's bower." 



56 

Thou dastard in a fight." 
"And lifting high his kingly forehead, 
He would fling the haughty answer back, 
I am, I am the king." 

VIII. 

"And see! in the far distance shine out the lights of 
home." 

"To thee, O God, I lift my soul." 

IX. 
"False wizard, avaunt." 

"He only shrugged his shoulders, with a kind o" grin, 
as much as to say, I'm too old a bird to be caught with 
that kind o' chaff." 

INFLECTIONS OF THE HEAD. 
Forward and upward. — Interrogation, hope, desire. 
"Must I budge, must I observe you?" 
"And bade the lovely scenes at distance, hail. " 
"Oh! for a closer walk with God." 

Forward with chin lowered. — Doubt, reproof. 
"Are you sure?" 

"Don't flirt too far with the bonny lads." 
"Are my teachings all in vain?" 

Forward with a nod. — Confirmation, assent, affirmation." 
"Aye, sir, for three months." 

"Do you confess the bond? I do. Then must the Jew 
be merciful." 

Backward with upward jerk of chin. — Exaltation of self, 
sudden contempt, disagreement. 

"No matter how I look, I yet shall ride in my own 
chariot, ma'am." 



57 

"Twenty fiddlesticks!" 

"Squints? a red-haired girl? Zounds, no! 1 ' 

"Virtue! a fig!" 

Straight forward with violence. — Threat of resolute man. 
"Villain, be sure thou prove my love a ." 

Straight backward with violence. — Affront, insult, threat of 
weak man. 

"Why, blockhead, are you mad?" 
"Dosfthou not suspect my place?" 

From one shoulder to the other. — Impatience, regret, grief. 
"O, what a rogue and peasant slave am I." 
"O, now, forever farewell the tranquil mind." 
"But not, — not the six hundred." 

From side to side. — Negative, refusal, denial. 
"I can not find it, 'tis not in the bond." 
"Oh no I don't, it was a most disagreeable one." 
Obliquely downard. — Affirmation with negative ex- 
ception. 
"O you are well tuned now! But I'll set down the pegs 

that make the music, as honest as I am." 

BEARINCS. 
The bearings of the head express the significance of the 
attitudes which they happen to represent, and as a bearing is 
a fixed attitude, of course no one of them can express all the 
relations which the head is designed to express. The 
natural bearing of the head is in harmonic poise with the 
rest of the organism, and since the head is the first agent in 
the demonstration of active being, its bearing should change 
with the ever varving needs of such demonstration. 



The Eye. 

The eye as an agent of expression, is composed of the 
eyeball, the eyebrow, the upper and the lower lid. Each of 
these agents has its functional relation to the mind's action. 
The eyeball simple shows the direction of the mind's act- 
ivity, whether it is subjective or objective, whether fixed 
upon an object or upon a mental image of that object, viz, 
upon a subject. The eyebrow is the mental thermometer 
and shows the conditional intensity of the mind's activity. 
When excentric or raised it registers passional excitement 
of mind; when accentric or lowered it registers concentra- 
tion of mind. The section of brow nearest the nose is the 
vital division, the center the moral, and the outer section 
the mental. 

The upper lid shows the relation of the will to the 
mind's activity. As the eyeball show r s involuntarily the 
direction of the mind's action, so the upper lid shows vol- 
untary acceptance or rejection of that directive action. A 
depression of the lid from midway between the pupil and 
the top of the iris signifies a greater voluntary 
withdrawal of the mind from the object and fixing it upon 
the idea, while raising the lid from the same point signifies 
a voluntary surrender of the mind to the direction of its 
activity. 

The greater the elevation the more complete the sur- 
render of the will to a passional action of mind. 

The lower lid shows sensitiveness of the mind's activity; 
when normal, it shows mind calmly active, when raised, 
shows mind sensitive, when lowered shows mind insensible, 
dead. The inner corners raised show sensitiveness to pain- 
ful thought, the outer raised, sensitiveness to pleasurable 
nought. 



59 

The eye and the hand are parallel instead of opposed, 
both in the conditional and in the relative attitudes. A 
closed hand goes with a depressed eyebrow, and an open 
hand with the open brow. The palm of the hand toward 
the earth expresses subjection of image, object or idea to 
self, just as does the depression of the eyeball. Therefore, 
unless ambigmty is intended, the attitudes of the eyeball 
should correspond to the relative attitudes of the hand ?nd 
the attitudes of the eyebrow to the conditional attitudes of 
the hand. 

A further parallelism exists between the attitudes of the 
eyebrow and the pitch of the voice. The growl goes with 
a lowering brow and the scream with an open brow. It is 
desirable in practicing the different attitudes of eyebrow to 
allow the voice to interpret the shades of mental intensity 
outlined in the chart and also to give the corresponding 
conditional attitude of hand. But inasmuch as "the eye 
sees not itself but by reflection by some other thing," it is 
necessary for the pupil to practice the face charts before a 
mirror until some control is gained over the separate 
muscles. This will be found to be slow work, as every 
face which is at all matured has already developed a few 
muscles and left the others almost atrophied from disuse. 
Owing to the impossibility of the pupil determining the 
right effort in class drill, no sentences have been given for 
the face charts. 



60 



Attitudes of Eyeball. 



Eyeball depressed and turn- 


Eyeball depressed midway 


Eyeball depressed and turn- 


ed to object. 


between the two corners. 


ed from object. 


5 


4 


6 


Exaltation of self in casual 


Subjection of object or idea 


Exaltation of self in casual 


regard of object. 


to self. 


attention to subject. 


Eyeball turned to object, 


Eyeball calm, midway be- 


Eyeball turned from object 


neither raised nor depressed 


tween the two corners. 


neither raised nor lowered. 


2 


I 


3 


Casual regard of object. 


Neutral. 


Casual attention to subject. 


Eyeball raised and turned 


Eyeball raised midway be- 


Eyeball raised and turned 


to object. 


tween the two corners. 


from object. 


8 


7 


9 


Subjection of self in casual 


Subjection of self to object 


Subjection of self in atten- 


regard of object. 


or idea. 


tion to subject. 



61 



Attitudes of Eyebrow. 



Ex. and ac. lowered. 

5 

Timid reflection, 


Ac. of brow lowered. 

4 

Timid, weak mind. 


Ex. raised, ac. lowered. 

6 

Pain, agony, mental distress 


Ex. of brow lowered. 

2 

Calm reflection. 


Brow normal. 
I 

Serenity of mind. 


Ex. of brow raised. 

3 

Anxiety, calm suffering. 


Ex. lowered, ac. raised. 

8 

Rage, fury, madness. 


Ac. raised. 

7 

Imagination, passional mind 


Ex. and Ac. raised. 

9 

Terror, fear, dismay. 



62 



Attitiad.es of Upper Eyelid. 



Lid completely shut. 


Lid lowered from animated 
attention. 


Lid half covers pupil. 


5 


4 


6 


Weariness, sleep, death. 


Voluntary withdrawal of at- 


Voluntary concentration of 




tention from object to idea. 


mind. 


Edge lowered to top of pupil. 


Edge of lid in center of iris. 


Edge raised to top of iris. 


2 


I 


3 


Rejection of object by will. 


Calm attention. 


Animated attention, 


EI33 raised to top of iri3. 


Edge raised slightly above 


Edge raised to highest point 




iris. 


above iris. 


8 


7 


9 


Passional tendency of mind. 


Voluntary surrender of mind 


Complete surrender of 'will 




to object of excitement. 


to excitement, madness. 



63 



The fiose. 

As the hand moves toward the outer verticals in exercis- 
ing its sense of touch for the guidance of the mind, and 
toward the inner verticals to await the minds consideration, 
and as the eyeball turns toward the outer verticals with its 
optical sense of touch, in objective attention, and reverses in 
subjective attention; or else with eyeball fixed upon object, 
shuts off this objective touch by closing the upper eyelid, so 
the nose and mouth have, through their functional species of 
touch, the same acceptive and rejective means of manifest- 
ing objective and subjective activity of mind. The nostrils 
expand in objective detection, and contract in subjective 
reflection; the mouth expands in vital, objective uses, and 
closes in discriminative, subject uses. All these guiding 
senses which have their primary use in the development and 
preservation of being have their secondary uses in the 
expressive manifestation of being. 



64: 



Attitudes of Nose 



Nostrils contracted, nose 


Nose 


wrinkled transversly 


Nostrils expanded, nose 


wrinkled between brows. 




between brows. 


wrinkled between brows. 


5 




4 


6 


Hardness and aggression; 




Aggression. 


Passion and aggression; 


bate 






fury. 


Nostrils contracted. 




Nostrils at rest. 


Nostrils dilated. 


2 




I 


3 


Hardness, cruelty. 




Indifference. 


Excitement, sensibility. 


Nostrils raised and con- 




Nostrils raised. 


Nostrils raised and ex- 


tracted. 






panded. 4 


8 




7 


9 


Sensuousness and bardnese, 


Sensuousness, lascivious- 


Sensuousness and passion; 


contempt, despising. 




ness. 


scorn. 



65 
The JVTouth. 

The mouth and lower jaw are the vital subdivision of 
the mental zone, and each expresses a particular phase in 
the vital energies of the mind. The lower jaw expresses 
executive energy of mind. The lower lip energy of will in 
mind, the upper lip sensitive mental energy. 

We stiffen and project the lower jaw in biting and in 
all those fierce, animal passions, which uncontrolled by the 
moral nature, would end in biting and scratching. The 
word sarcastic is an etymological record of this fact. It is 
that uncovering of the canine tooth which shows a dispo- 
sition to tear the flesh. Animalism projects the jaw and 
lays the lips back from the teeth, while moral restraint upon 
this nature stiffens the lower lip and holds back the jaw. 
This conflict is powerfully depicted in Othello; "Alas why 
gnaw you so your nether lip? Some bloody passion 
shakes your frame; these are portents." The flabbiness 
and grossness of the mouth after generations of sensual in- 
dulgence, especially in the use of intoxicants, is another 
sad record of mis law. The will having exercised no con- 
trol upon the appetite the fact is recorded by a want of firm- 
ness in those special muscles which execute that side of the 
being. 

This executive and non-executive use of the mouth and 
jaw is further shown from its use in tasting. 

In tasting sweet things, we close the mouth firmly and 
press the tongue against the roof of the mouth so as to prolong 
the sense of sweetness and enjoyment. In tasting bitter 
things we reverse this action by dropping the jaw and sep- 
arating the tongue as much as possible from the roof of the 



C6 



mouth. Hence, the tasting touch of the physical being 
comes to represent the pleasurable or the disagreeable 
tastes of the spiritual being. 

For that which gratifies and pleases the mind we com- 
press and purse up the mouth, while for the nauseating and 
disagreeable we diop the jaw and give a rejective grimace. 



Attitudes of Mouth 



Closed, corners lowered. 

5 

Firmness and disapproval, 
discontent- 


Slightly open, corners 
lowered. 

4 

Abandon and disapproval, 
Grief. 


Open, corners lowered. 

6 

Astonishment and disap- 
proval, horror. 


Firmly closed. 

2 

Firmness. 


Slightly open. 

I 

Abandon, Suspense. 


Completely open. 

3 

Astonishment. 


Closed, corners raised. 

8 

Firmness and approval; 
agreement. 


Slightly open, corners 
raised. 

•7 

Abandon and approval; 

joy. 


Open, corners raised. 

9 

Astonishment and approval, 
laughter. 



GpammaP of fletion, 



"Grammar is the logic of speech, even as logic is the 
grammar of reason" — Trench. 

The grammatical laws of manifestive being are the 
same, whether that manifestation be by word, by gesture, 
or by tone. 

Our literal Parts of Speech are manifestations of Being 
in symbols of the mental order. They are farts of speech, 
•because each is a partial manifestation only of the speaker. 
The manifestation of the whole speaker requires a full use 
of the different parts of speech, just as the manifestation of 
the whole speaker by gesticulative motion requires a co- 
operative motion of the different parts of the speaker's 
organism. It is this co-operative and logical relation in the 
symbols of manifestation which constitutes the grammar of 
verbal, of gesticulative, and of tone language. 

LAW OF MOTION. 
Motions toward the individual centers of the organism 
assert action of being on the mental side ; motions away 
from these centers, assert action of being on the vital side; 
motions around these centers, assert action of being on the 
moral side. The centripetal is the directive and regulating 
form of organic motion; the centrifugal, the disipative, and 
distributing form; the concentric or normal, the preserva- 
tive and harmonizing form. 

LAW OF EXTENSION. 
Extension of gesture in any direction is in proportion to 
the surrender of will in the activitv. 



6$ 

LAW OF DIRECTION. 

In the extension of gesture to the three dimensions of 
space. 

Heights, express mental measurement. 
Breadths, express moral measurement. 
Lengths, express physical measurement. 

LAW OF SEQUENCE OR PRIORITY- 

The successive order for the movement of different 

agents of the organism depends upon the relative nearness 

of that agent to the mental, the directive centre of the 

organism. The general order is, look, gesture, speech; the 

specific order is, ear, eye, face, arms and hands, torso, 

limbs. 

LAW OF FORCE. 

The force of being as expressed in active. motion is in 

inverse ratio to its conscious exercise. Conscious strength 

assumes weak attitudes; conscious weakness assumes 

strong attitudes. 

LAW OF FORM. 

Straight form is vital. 

Circular form is mental. 

Spiral form is moral. 

LAW OF OPPOSITION. 

The motion of two or more members of the organism in 
the same direction should be successive in time ; their motion 
in opposite directions should be simultaneous. If both move 
in the same direction at once there is a parallelism of agents 
which produces a defect in equilibrium and awkwardness. 
When the hand rises to the head, the head bends forward to 
meet it. Every movement in the hand has its responsive 
movement in the head. If the head advances the hand with- 
draws. 



69 

LAW OF REACTION. 

"Every object of agreeable or disagreeable aspect which 
surprises us makes the body recoil. The degree of reaction 
should be proportioned to the degree of emotion caused by 
sight of the object.'' 

Action and reaction are equal in the passional as well as 

in the physical world. Every emotion in its climax reacts to 

the opposite. Exploded passion tends to prostration, and 

repressed passion inclines to explosion. Ranting is an 

explosive reaction without any preceding concentration to 

warrant it. 

LAW OF VELOCITY. 

Velocity is in proportion to the mass moved and the 

force moving. The shorter and lighter the member of the 

organism moved the faster will be its motion. The grander 

the passion, the more majestic the motion; and the lighter 

the emotions, the more frisky the action. 



The Voice. 



The voice in its tonal character reflects the vital nature. 
Organic vigor or organic weakness, are revealed by it, 
regardless of the speaker's will. It is the executive agent 
for projecting the activities of being beyond the circle of its 
immediate environment. As might be expected, the guid- 
ing, the impelling, and the sustaining powers of being, all 
combine in its operation, and each power has its separate 
set of executive agents. One of the chief difficulties of vocal 



70 

execution comes from confounding the functions of these 
different agents. The work of one set of agents is often 
put upon another, but always to the great detriment of the 
agents themselves, and with great loss of effective power. 
In the normal production of tone we find the vocal agents of 
impulsion all operated from the moral centers of the organ- 
ism, the sustaining agents from the vital centers, and the 
guiding agents from the mental centers. Curiously enough the 
neck where the special organ of voice is located is neutral 
ground. It belongs neither to the vital, to the mental,nor to the 
moral territory. Whatever executive energy, therefore, is 
required for the impelling, the sustaining, or the guiding 
operation of the voice, does not have its conscious applica- 
tion in the region of the neck. One of the first as well as 
one of the last things to be remembered in regard to the 
operation of these agents is that all the distinctive uses of the 
voice require no conscious effort at the throat. 



RELATION OF AGENTS TO STATES OF BEING- 

As there are three grand divisions of the organism for 
manifesting the life of being in action, so there are three 
distinct and separate agencies for manifesting the same in 
tone. These three agencies are the lungs, the larynx and 
the mouth; or a motor agency, a vibrating agency and a 
reverberating agency. The motor agent, the respiration, 
represents the vital nature; the vibrating agent, the larynx, 
represents the mental nature and the different shapes of the 
cavity of the mouth and pharynx, the r resonantor, repre- 
sent the moral nature. 



71 



MODES OF RESPIRATION AND THEIR RELATION TO TONE- 
Clavicular Respiration in which the thoracic or upper 
section of the chest is the most active, gives a tone light in 
volume, weak in force and abrupt at the opening. Such a 
tone will serve for conversation or for didactic discourse in 
a small room ; but when impassioned utterance is attempted 
by increasing the energy of this mode of respiration, the 
effect is disastrous both to the speaker and to the speaking. 
The effect upon the speaker is exhaustive in the extreme, 
and if the speaking be frequent and long continued, the in- 
evitable'result is pain in the upper chest together with con- 
gestion of the larynx and its contiguous parts. The effect 
upon the speaking or singing is to render the expression 
hysterical, convulsive and feeble, — the expression of mental 
excitement, without adequate moral purpose or physical 
support. 

Diaphragmatic or costal Respiration, where the Epigas- 
tric section of the chest is most active and where the ribs 
have fullest play, gives the largest supply of breath and 
allows the muscles which regulate the expiration to work 
at their best advantage. The inspiration should be deep, 
and the expansion of chest should begin by setting the 
diaphragm, as in holding the breath, then broadening the 
back at the bottom of the lungs as much as possible. The 
expiration should be given by holding the diaphragm set, 
relaxing the back and at the same time flattening the 
abdomen. 

By this mode of respiration the volume of tone can be 
regulated by the relative fullness of the inspiration and 
expiration, the loudness of tone by increasing or by dimin- 
ishing the expiratory effort, and the expressive form of this 



72 

loudness, the stress of tone, by applying (at will) the maxi- 
mum strength of expiration on the initial, the middle or the 
final part of the tone. The point to be especially guarded 
in this mode of respiration, is to begin each inspiration by 
setting the diaphragm as in holding the breath, and to re- 
tain this sensation until the expiration is completed. Other- 
wise, the action of the diaphragm in its functional exercise 
of vital respiration will assert itself and relax in expiration; 
whereas in its functional exercise for regulating the flow of 
breath for vocal purposes, it should not relax until the 
expiration is completed. This point is vital, and should be 
practiced until it is under thorough control. 

Abdominal or vital respiration, in which the abdomen 
is the most active section of the torso, is performed mainly 
by the diaphragm which contracts in inspiration, pressing 
the abdominal contents downward and forward, and relaxes 
in expiration. This is the automatic respiratory action 
which is presided over by the vital nature, and which goes 
on continually with an energy in exact proportion to the 
physical needs of the organism. In sleep it is slow and 
gentle, according with the reduced circulation and muscular 
enervation. In vigorous exercise it is strong and full to 
meet the requirements of a rapid aeration of the blood and 
to supply the needed energy. It will be seen, therefore, 
that this mode of respiration is pre-eminently physical. It 
may be employed accordingly in the production of tone, 
when the physical being is the thing to be expressed, and 
when sudden and powerful effects are needed. It is not, 
however, the mode of respiration for artistic and poised 
expression. It is too violent and jerky, and if sustained and 
vigorous tones are attempted by the voluntary contraction 
of the abdominal muscles, the diaphragm is likely to relax 



73 

and allow the ribs to be pressed outward by the abdominal 
contents, which of course would reduce the pressure upon 
the lungs. This may be obviated by contracting the diaph- 
ragm at the same time with the abdomen; but unless this 
control of the diaphragm has been first learned by the prac- 
tice of diaphragmatic respiration, it is much more likely to 
relax and leave the tone without adequate breath support. 

Inasmuch as the primary use of this mode of respiration 
is the aeration of the blood, a violent practice of it in breath- 
ing exercise without a corresponding demand for blood in 
the rest of the muscular system is apt to induce giddiness. 
Breathing exercises, therefore, should be taken mainly in 
the diaphragmatic mode and then it becomes easy to com- 
bine the two for strong physical passions. 

THE LARYNX AND ITS RELATION TO TONE- 

The distinctive function of the larynx, the vibratory 
agency of voice, is the exhibition of thought in tone. This 
is performed mainly by the pitch of the tone, and the pitch 
of a tone depends upon the rate of vibration in the cords. 
The more rapid the vibration the more acute the pitch and 
the more acute the mental distinction which is revealed. 
Heights are mental in the grammar of tone as well as in 
the grammar of action; and hence we have the subjective 
condition of the mind revealed by the key note of utterance 
and the objective relation revealed by the relative pitch of 
emphasis. Emphasis above the key belongs to those ideas 
which have the greater mental importance, and emphasis 
below the key to those of lesser mental importance. The 
most natural and the most rational mode of marking dis- 
tinctions of thought, therefore, is by a fitting melody of 



74 

sentence or of song. A dead level of tone suggests a dead 
level of meaning. Expressive thought demands distinctive 
summits of tone. The method by which this change of 
pitch is accomplished, however, differs essentially from that 
employed in the respiratory process. There we form a 
visual image of the muscular effort to be made and then 
will its accomplishment. Here we form an image to be 
sure, but not of a muscular effort. The image in this case 
is an audible one, so to speak; an imaginary tone pre- 
sented to the ear and not an imaginary effort which can be 
seen. We will, whatever pitch or purity or power of tone, 
we have first conceived and presented in imagination to the 
ear, and this thought co-ordinates the muscles of the 
larynx by which the act is executed. Any image of mus- 
cular action at the lar} T nx is worse than so much energy 
thrown away, -for it acts directly as so much thrown in the 
way. It interferes w r ith the normal process. 

First, think the tone you want and then call for it, mak- 
ing no effort at the larynx. The only proper places for ef- 
fort are in the muscles of respiration and in the muscular ad- 
justments for tuning the resonance chambers; and when 
these efforts become properly co-ordinated by practice, 
the whole process becomes automatic and the production of 
tone a mere willing of the thought. 

THE MOUTH AND ITS RELATION -TO TONE. 
The vibrations of the vocal cords give sonance to breath ? 
and the cavity of the mouth and pharynx gives resonance 
or added sound. This added sound may be in con-sonance, 
in harmony with the fundamental tone of the larynx, or it 
may be in dis-sonance, in discord. When the added the over- 



75 

tones, are in the right order and strength, the voice is clear 
and firm; when they are in disorder the tone lacks in reson- 
ance. To secure this resonance and strength, the muscles 
which bind together and unify the mouth, the larynx and 
the chest must be adequately and proportionately strung. 
The "vibrating , cords must be brought into firm connection 
with the sounding boards." 

A piano once tuned will remain so for a considerable 
length of time, but the human voice has to be retuned 
every time it is used. Not only do the vocal cords them- 
selves undergo variations in adjustment and tension for 
every tone, but the whole larynx has to be re-strung to its 
bony supports. 

It is by the right management of the muscles which give, 
this external support to the larnyx that the mouth or reson- 
antor is attuned and the vibrations of the vocal cords made 
sonorous. The muscles which give this support radiate 
from the hyoid or tongue bone to the chin, to the breast bone, 
to the back of the head and to the hard palate. These 
points, therefore, become tuning-fin points, as it were, for 
muscular efforts in attuning the voice to the utterance of the 
different states of being. 

But like all the other agencies of "moral manifestation, 
this muscular effort must result in a poise or balance about 
some center. This center is the hyoid bone. At this point 
there should be no conscious effort. "; The antagonist muscles 
which radiate from this bone to -the different points men- 
tioned, all pull on it with a continuous, though not with a uni- 
form force; while the bone itself changes its position in ac- 
cordance with the needs of the tongue in its articulative 
motions. 



76 

In a general way the muscular action by which this tun- 
ing is performed and the tone placed, may be compared to 
the action of the driving and of the check-reins by which a 
horse's head is controlled. The pull upon the bit corres- 
ponds to the tension at the chin ; the pull upon the rings of 
the martingale to the tension at the breast-bone, and the 
pull of the driver's hands, to the tension at the back of the 
head. The pull of the check-rein upon the bit" corresponds 
to the tension at the lips. The pull upon the rings or swivel 
at the side of the head, to the tension upon the palate. The 
pull upon the saddle-hook, to the tension at the back of the 
head. 

In the upper tones, the tension upon the lips and palate 
is relatively the stronger; and in the lower tones the pull 
upon the chin, the breast-bone and back of the head is the 
stronger; but in all tones the pull upon the roots of the 
tongue, the hyoid bone, is balanced and easy, so that the 
tone seems to be blown through the larynx and not from it. 

The stiffening of the jaw by contraction of the biting 
muscles is so instinctive for other physical exertion, that 
great care is needed or it will assert itself here and interfere 
seriously with an easy production of tone. This can be 
avoided and the relaxation of the masseter muscles recog- 
nized by dropping the jaw, as in laughter, whenever force is 
applied to the other muscles. 

The muscles which radiate from the hyoid bone to the 
chin, to the breast-bone and to the back of the head in con- 
tracting will of course draw the head forward and down- 
ward unless they are resisted. The antagonist muscles by 
which this resistance is effected pull from the top of the 
shoulder blades upon the back of the head. The best place, 



77 

therefore, for applying the effort of pulling upon the reins 
and setting the supporting muscles of the larynx, is at the 
back of the neck almost opposite the chin and near the top 
of the shoulder blades, instead of trying to apply the effort 
at the back of the head. But the shoulder blade, like the 
hyoid bone, is simply held in place by muscles, and if 
pulled upon from the top it must be resisted by the antag- 
onist muscles which run from its lower border or it will be 
pulled out of place. This is just what takes place in the 
contraction of the expulsive muscles of respiration which 
run from the shoulder blades to the ribs and from the ribs 
to the pelvic bones at the bottom of the torso, the sustain- 
ing center of the organism. 

It will, therefore, be seen how the muscular efforts for pro- 
ducing tone, co-ordinate the three agencies into one united 
effort by which we simply will the preconceived tone in all 
its diversity of attributes and shadings. When this habit is 
secured the rest is but a matter of careful thinking and con-' 
tinuous practicing; and until this is secured the practicing 
will result in an immense waste of tissue and the tone be in- 
expressive and unreliable. 

ELEMENTS OF VOCAL EXPRESSION. 

The elements by which the activities of being are ex- 
pressed in voice ar$ the same as the elements for expressive 
action. The inflections of voice express passing activity of 
being; the attitudes of voice, in force, in pitch and in all the 
other attributes of tone express the spiritual, the subjective 
condition, or the emphatic, the objective relation of the being; 
the bearings or habitual attitudes of force, pitch, etc., ex- 
press the individual peculiarities of the being. Downward 
inflections of voice express a passing from the superior, an 



78 

exaltation of the idea, or positiveness of emphasis on the 
mental side. Upward inflections express a subjection of the 
idea, hope, desire, anticipation in mental emphasis. Com- 
bination of the upward and the downward, or the circumflex 
inflection, expresses ambiguity; the direction in which the 
inflection ends giving the most prominence to its meaning. 

Those attitudes of voice which show the current measure 
of excitement that possesses the being are its conditional 
attitudes. In pitch this is represented by the key note, 
which varies for every condition of active being. The key 
notes for the moral passions will be in the normal or middle 
series of notes; the key notes for the mental state will be 
more acute in pitch; the key notes for the vital will.be less 
acute than the normal. The vocal cords vibrate at their 
normal length in the middle pitches, are accentric or con- 
tracted in the higher pitches, and excentric or lengthened in 
the lower pitches. The passional mood not only furnishes 
the hey note in vocal expression, but it furnishes the stand- 
ard, or conditioned attitude, of every other attribute of tone. 
The current grades of force, of time and of all the other 
attributes reflect the current or inspiring mood of being. In 
short, the standard of each attribute is the conditional atti- 
tude of voice respecting that attribute. 

The relative attitudes of voice are its emphatic variations 
in each of the attributes of tone. By these the relation of 
the being is shown, both toward the mood which possesses 
it and toward the object which engages its attention. The 
extent of variation in this emphatic energy is in accordance 
with the grammatical law of extension before given. 

The Bearings of voice are those mannerisms of tone 
which reveal the dominating habit of being in any of its 
forms. These bearings may be mere fashions of tone which 



79 

have been adopted and domesticated b}/ the individual, or 
they may echo the manner of preceding individuals of the 
same stock. 

Whatever their origin, they always express the indiviual 
type of character of the person who beai s them, for, they 
are the ingrained peculiarities which have become establish- 
ed through the activities of the being. 

" There are two kinds of loud voices, the vocally loud, 
which is the vulgar voice, and the dynamically loud, which 
is the powerful voice." 

This is Delsarte's way of expressing the law of force. The 
consciously loud voice is the vulgar voice, and the unconsci- 
ously loud, the powerful voice. It will be remembered that 
the law of force was stated to be "in an inverse ratio to its 
conscious exercise." This is true organically and spiritually. 
A loud tone whose production creates a conscious strain of 
the organism is not a powerful tone. Its effective power is 
in exact ratio to the ease or unconsciousness of its produc- 
tion. Re who feels that to render himself heard at a distance, 
a conscious physical strain is necessary is misappropriating 
his vital energies. It is the very essence of the vocal func- 
tion to operate at a distance, and nature has provided the 
organic means of doing this without waste. 

In fact it is one of nature's chief means of preserving the 
energy and integrity of the organism. The practice of earn- 
est delivery by voice, is one of the most healthful exercises 
for body and soul. It must be delivery by voice however, 
and not delivery of voice. It is the normal function of voice 
to deliver the being, not to deliver itself. It must have a 
message to be normal. Great care is needed, therefore, in 
developing the voice not to make the exercises an end in 
themselves. Exercise in each grammatical law must be made 



80 

to convey the message which that law logically represents. 
Hence loudness of voice should always, in practicing, repre- 
sent an energy of meaning, not an energy of effort. 

Too much stress cannot be laid upon this point, for it is 
the besetting vice of elocutionary practice, and the reason- 
able cause of mucli complaint against all elocutionary studies. 

By making the objective force of tone represent meaning 
i. e. energy of action in the psychological states, rather than 
a conscious effort of the physical being, the danger of hypoc- 
licy and affectation is not only avoided but nature is per- 
mitted to put the physiological side of being into harmonious 
cooperation with the psychological and thereby express her 
meaning easily and effectively. 



Vouael Practice in Girammat* of Tone. 

A=AH. 0=011. E=EEL U=00. I=EE. 



I. 


II. 


III. 


i e u a o 


i u e a o 


i o e u a 


i e u o a 


i u e o a 


i o u a e 


i e o u a 


i u o a e 


i o a u e 


IV. 


V. 


VI. 


i a e u o 


e i u a o 


e u i a o 


i a u e o 


e i a u o 


e u a i o 


i a o u e 


e i o a u 


e u o i a 


VII. 


VIII. 


IX. 


u i e a o 


u a i e o 


a i e u o 


u i a e o 


u a o i e 


a i u o e 


uei'oa 


u o e a i 


a e u o i 


X. 


XII. 


XII. 


a u i e o 


o a e u i 


o i e u a 


a u o i e 


o a i u e 


o e i a u 


a u e o i 


o a e i u 


o u e a i 



81 
Consonant Pi*aetiee in Gpammaf of Tone, 





PREFIXES. 




L. F. 


T. R. Bl. 


Sn. Ch. 


M. S. 


W. B. Th. 


Dr. Wh. 


P- J- 


N. V. Fr. 

SUFFIXES. 


PI. Sh. 


Ld. 


Ing. Lst. Ble. 


Ng's. 


Nd. 


R'ce. Rm'd Pie. 


Rl'd. 


Ed. 


Lt. Dst. Die. 


Tv. 



Practice the consonants in combination with the vowe 
chart, and let there be no straining or pinching in the articu- 
lation, but touch each combination as flexibly and lightly as 
possible. 

KEY WORDS AND PHRASES. 

Life, his, what, there, say, when, is, without doubt, flee- 
ing, you, boys, wider liberty, eh?, why, papa, "One 
thoroughly enjoys it," "As honest a man as ever breathed." 

LAUGHING TONES 
I. 

"Guess he don't know who's hid in here." 

"Why, what hope or chance have ships like these to 

pass? laughed they. Rocks to starboard, rocks to port, all 

the passage scarred and scored." 

II. 

"A fool, a fool! I met a fool i' the forest, a motley 
fool; — a miserable world! — As I do live by food, I met a 
fool, who laid him down and basked him in the sun, and 
railed on Lady Fortune in good terms, in good set terms — 
and yet a motley fool." 



82 

EXTRACTS FOR PRACTICE. 
III. 

Yet a few days, and thee The all-beholding sun 
shall see no more In all his course; nor yet in the cold 
ground, Where thy pale form was laid, with many tears, 
Nor in the embrace of ocean shall exist, Thy image. 
Earth that nourished thee, shall claim Thy growth to be 
resolved to earth again; And lost each human trace, sur- 
rendering up Thine individual being, shalt thou go To 
mix forever with the elements; To be a brother to the in- 
sensible rock, And to the sluggish clod, which the rude 
swain Turns with his share and treads upon. 

IV. 
The curfew tolls the knell of parting day, 

The lowing herd winds slowly o'er the lea, 
The ploughman homeward plods his weary way, 

And leaves the world to darkness and to me. 
Now fades the glimmering landscape on the sight, 

And all the air a solemn stillness holds, 
Save where the beetle wheels his droning flight, 

And drowsy tinklings lull the distant folds. 

V. 
Why does not everyone, who can afford it, have a ger- 
anium in his window, or some other flower? It is very 
cheap; its cheapness is next to nothing, if you raise it from 
seed or from a slip; and it is a beauty and a companion. It 
sweetens the air, rejoices the eye, links you with nature and 
innocence and is something to love. And if it cannot love 
you in return it cannot hate vou; it cannot utter a hateful 
thing even for your neglecting it; for though it is all beauty 
it has no vanity; and such being the case and living as it does 
purely to do you good and afford pleasure, how will you be 
able to neglect it. 



83 

VI. 
I am a Cheap Jack, and my father's name was Willum 
Marigold. It was in his lifetime supposed by some that his 
name was William, but my father always consistently said. 
No, it was Willum. On which point I content myself with 
looking at the argument this way. If a man is not allowed 
to know his own name in a free country, how much is he al- 
lowed to know in a land of slavery? 

VII. 

"Very good," replied the pendulum; it is vastly easy for 
you Mistress Dial, who have always, as everybody knows 
set yourself up above me, — it is vastly easy for you, I say, 
to accuse other people of laziness, you who have had noth- 
ing to do all the days of your life but to stare people in the 
face, and to amuse yourself with watching all that goes on in 
the kitchen. Think, I beseech you, how you would like to 
be shut up for life in this dark closet, and wag backwards 
and forwards, year after year, as I do. 

VIII 
"How?" cried the mayor, d'ye think I'll brook, 
Being worse treated than a cook? 
Insulted by a lazy ribald, 
With idle pipe and vesture piebald? 
You threaten us, fellow. Do your worst; 
Blow your pipe, there, till you burst. 

IX. 

Where rests the sword? where sleep the brave? 

Awake! Cecropia's ally save 

From the fury of the blast ! 

Burst the storm on Phocis' walls, — 

Rise! or Greece forever falls; 

Up! or Freedom breathes her last! 



X. 

Rouse ye Romans! Rouse, ye slaves! 

Have ye brave sons? Look in the next fierce brawl 

To see them die. Have ye fair daughters? Look 

To see them live, torn from your arms, distained, 

Dishonored; and if ye dare call for justice, 

Be answered by the lash. Yet, this is Rome, 

That sat on her seven hills, and from her throne 

Of beauty ruled the world! Yet, we are Romans, 

Why in that elder day, to be a Roman 

Was greater than a king! — And once again — 

Hear me, ye walls that echoed to the tread 

Of either Brutus! — Once again, I swear, 

The eternal city shall be free! her sons 

Shall walk with princess! 

They tell us, sir, that we are weak, unable to cope with 
so formidable an adversary. But when shall we be stronger? 
Will it be the next week or the next year? Will it be when 
we are totally disarmed, and when a British guard shall be 
stationed in every house? Shall we gather strength by ir- 
resolution and inaction? Shall we acquire the means of ef- 
fectual resistance by lying supinely on our backs and hug- 
ging the delusive phantom of hope, until our enemies shall 
have bound us hand and foot? 

Sir, we are not weak, if ,we make a proper use of those 
means which the God of nature hath placed in our power. 
Three millions of people armed in the holy cause of liberty, 
and in such a country as that which we possess, are invinci- 
ble by any force which our enemy can send against us. 

Besides, sir, we shall not fight our battles alone. There 
is a just God, who presides over the destinies of nations, and 
who will raise up friends to fight our battles for us. The 



85 

battle, sir, is not to the strong alone; it is to the vigilant, the 
active, the brave. Besides sir, we have no election. If we 
were base enough to desire it; it is now too Lite to retire 
from the contest. There is no retreat, but in submission and 
slavery. Our chains are forged. Their clanking may be 
heard on the plains of Boston. The war is inevitable, and 
let it come! — I repeat it, sir, let it come. 

XII. 

"Americans, I send my voice careering like a thunder- 
storm across the Atlantic, to tell South Carolina that God's 
thunderbolts are hot, and to remind the negro that the dawn 
of his redemption is drawing near." 

XIII. 
Rejoice, you men of Angiers! ring your bells. 
King John, your king and England's, doth approach 
Commander of this hot malicious day! 
Their armours, that marched hence so silver-bright, 
Hither return all gilt with Frenchmen's blood; 
There stuck no plume in any English crest, 
That is removed by a staff of France; 
Our colors do return in those same hands, 
That did display them when first march'd forth; 
And like a jolly troop of huntsmen, come 
Our lusty English, all with purpled hands, 
Dyed in the dying slaughter of their foes; 
Open your gates, and give the victors way. 

XIV. 

Raising his voice till the old arches of Irish oak re- 
sounded. "Therefore, it is with confidence that, ordered by 
the commons of Great Britain, I impeach Warren Hastings 
of high crimes and misdemeanors. I impeach him in the 
name of the Commons of Great Britain in Parliament as- 
sembled, whose parliamentary trust he has abused. 



I impeach him in the name of the Commons of Great 
Britain, whose national character he has dishonored. 

I impeach him in the name of the people of India, whose 
laws, rights, and liberties he has subverted. 

I impeach him in the name of the people of India, whose 
property he has destroyed, whose country he has laid waste 
and desolate. 

I impeach him in the name of human nature itself, which 
he has cruelly outraged, injured and oppressed, in 
both sexes. And I impeach him in the name and by the 
virtue of those eternal laws of justice, which ought equally 
to pervade every age, rank and situation, in the world." 

LOCHINVAR. 

O, young Lochinvar is come out of the west, — 
Through all the wide border his steed was the best! 
And, save his good broadsword, he weapon had none; 
He rode all unarmed, and he rode all alone 
So faithful in love, and so dauntless in war, 
There never was knight like the young Lochinvar. 

He stayed not for brake, and he stopped not for stone, 

He swam the Eske River where ford there was none; 

But, ere he alighted at Netherby gate, 

The bride had consented, the gallant came late; 

For a laggard in love, and a dastard in war, 

Was to wed the fair Ellen of brave Lochinvar. 

So boldly he entered the Netherby hall, 

'Mong bridesmen and kinsmen, and brothers, and all. 

Then spoke the bride's father, his hand on his sword, 

For the poor craven bridegroom said never a word, 

"O, come ye in peace here, or come ye in war, 

Or to dance at our bridal, voung Lord Lochinvar?" 



87 

"I long wooed your daughter, my suit you denied, 
Love swells like the Solway, but ebbs like its tide: 
And now am I come, with this lost love of mine, 
To lead but one measure, drink one cup of wine. 
There are maidens in Scotland more lovely by far, 
That would gladly be bride to young Lochinvar. 

The bride kissed the goblet; the knight took it up; 
He quaffed off the wine, and he threw down the cup. 
She looked down to blush, and she looked up to sigh, 
With a smile on her lips, and a tear in her eye. 
He took her soft hand, ere her mother could bar, 
'Now tread we a measure!" said young Lochinvar. 

So stately his form, and so lovely her face, 

That never a hall such a galliard did grace; 

While her mother did fret, and her father did fume, 

And the bridegroom stood dangling his bonnet and plume, 

And the bridemaidens whispered, 'Twere better by far, 

To have matched our fair cousin with young Lochinvar." 

One touch to her hand, and one word in her ear, 

When they reached the hall door,and the charger stood near. 

So light to the croup the fair lady he swung, 

So light to the saddle before her he sprung. 

"She is won! we are gone! over bank, bush and scar; 

They'll have fleet steeds that follow F'quoth young Lochinvar. 

There was mounting 'mong Graemes of the Netherby clan; 

Fosters, Fenwicks, and Musgraves, they rode and they ran; 

There was racing and chasing on Cannobie Lee, 

But the lost bride of Netherby ne'er did they see, 

So daring in love, and so dauntless in war, 

Have ye e'er heard of gallant like young Lochinvar? 



83 

THE PASSIONS. 

When Music, heavenly maid, was young, 
While yet in early Greece she sung, 
The passions oft, to hear her shell, 
Thronged around her magic cell, 
Exulting, trembling, raging, fainting, 
Possessed beyond the Muse's painting; 
By turns they felt the glowing mind, 
Disturbed, delighted, raised, refined; 
Till once, 'tis said, when all were fired, 
Filled with fury, rapt, inspired, 
From the supporting myrtles round 
They snatched her instruments of sound; 
And as they oft had heard apart 
Sweet lessons of her forceful art, 
Each — for Madness ruled the hour — 
Would prove his own expressive power. 

First If ear, his hand, its skill to try, 
Amid the chords bewildered laid; 

And back recoiled, he knew not why, 
E'en at the sound himself had made. 

Next Anger rushed, his eyes on fire, 

In lightnings owned his secret stings: 

In one rude clash he struck the lyre, 

And swept with hurried hands the strings. 

With woeful measures, wan Despair 

Low, sullen sounds, his grief beguiled; 
A solemn, strange and mingled air; 

'Twas sad, by fits, by starts, 'twas wild. 

But thou O, Hope\ with eyes so fair 
What was thy delighted measure? 
Still it whispered promised pleasure, 



89 

And bade the lovely scenes at distance hail! 

Still would her touch the strain prolong; 

And, from the rocks, the woods, the vale, 

She called on Echo still through all her song; 

And where her sweetest theme she chose, 

A soft responsive voice w is heard at every close, 

[And Hope, enchanted, smiled and waved her golden hair. 

And longer had she sung— but with a frown 

Revenge impatient rose. 

He threw his blood-stained sword in thunder down; 

And, with a withering look, 

The war-denouncing trumpet took, 

,And blew a blast so loud and dread, 

Were ne'er prophetic sounds so full of woe; 

And ever and anon he beat 

[The doubling drum with furious heat; 

And though, sometimes, each dreary pause between, 

Dejected Pity at his side, 

Her soul subduing voice applied, 

Yet still he kept his wild unaltered mien, 

While each strained ball of sight seemed bursting from his 

head. 
Thy numbers, Jealousy, to naught were fixed. 
Sad proof of thy distressful state! 
Of differing themes the veering song was mixed; 
And now it courted Love, now, raving, called on Hate. 

With eyes upraised, as one inspired, 

Pale Melancholy sat retired ; 

And, from her wild, sequestered seat, 

In notes by distance made mora sweet, 

Poured through the mellow horn her pensive soul; 

And, dashing soft from rocks around, 

Bubbling runnels joined the sound; 



90 

Through glades and glooms the mingled measure stole; 
Or, o'er some haunted streams, with fond delay, — 
Round a holy calm diffusing, 
Love of peace and lonely musing, 
In hollow murmurs died away. 

But, oh! how altered was its sprightlier tone, 

When Cheerfulness, a nymph of healthiest hue, 

Her bow across her shoulder flung, 

Her buskins gemmed with morning dew, 

Blew an inspiring air, that dale and thicket rung — 

The hunter's call to Faun and Dryad known! 

The oak-crowned sisters, and their chaste eved queen, 

Satyrs and sylvan bovs were seen, 

Peeping from forth their alleys green; 

Brown Exercise rejoiced to hear, 

And Sport leaped up, and seized his beechen spear. 

Last came Joifs ecstatic trial; 

He, with viny crown advancing, 

First to the lively pipe his hand addressed; 

But soon he saw the brisk awakening viol, 

Whose sweet entrancing voice he loved the best. 

They would have thought, who heard the strain, 

They saw in Tempe's vale her native maids, 

Amid the festal sounding shades, 

To some unwearied minstrel dancing, 

While, as his flying fingers kissed the strings, 

Love framed with mirth a gay fantastic round, — 

Loose were her tresses seen, her zone unbound 

And he, amid his frolic play, 

As if he would the charming air repay, 

Shook thousand odors from his dewy wings. 



H 157 



a 










:. **.,** : 














a9 T •!••- *> V .vL^'* 








-ov* 












• °* 















X ***$&>* ./.-^t.v /.c^>o > 



r oV 



» ^ V 



*°*fe 









'fU A* »k^JM 






4?^ V 



^1 







O^ 'o . » * A 



<* *'T7 









*°° V^-*>* %*^V \*WZ\i> s 



^, 










^ 



















^''••••v* %*^f'V %,*^r^\^* \ '-5B?* 









"*\«>* o. 




c 




I :aK&* % & *^Wa % ^ ** «VSft& 



^ MAY 82 



N. MANCHESTER, 
INDIANA 46962 









